Why Tarantino (for us)
Tarantino doesn’t just film stories: he edits memories. His frames are jukeboxes of cinema, TV, and pulp culture. When we work on him, the goal isn’t to replicate a scene but to crystallize his method: cutting, shifting, quoting, smiling while it hurts.
The object as direction
Choosing a single detail—the ear—was a directorial decision, not a journalistic one. By reducing to a symbol what in the film is action, we leave room for the off-screen: everything you don’t see, you imagine. The white around it is our silence, like a musical pause before the riff. The typography stained with red is the editing: a chromatic jump cut that holds together laughter and disgust.
Music, rhythm, irony
In Tarantino, violence dances with music. The work plays on the same paradox: the red flow descends in time, almost like a drumbeat. We’re interested in that ambiguous boundary where the audience asks, “can I laugh?”, the same question Tarantino makes us feel.
Ethics of the frame
There’s no indulgence: there’s critical distance. Bringing the detail outside the frame is a way to reveal the artifice. It’s like saying: “what you’re watching is cinema,” and cinema, at times, is a trick that reveals truth.
For whom
For those who collect directors before films. For those who love pitch-black humor, citationist culture, and poster-like images that stay in your mind.
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