Joanne Amarisa
@joamarisa
Jo’s digital garden. A curation of curiosity, admiration, inspiration, and enquiry. Work in progress.
Joanne Amarisa
We sat in the 3rd row center and she hurled that at us. I couldn't move. It was breathtaking.
I'm Here - The Color Purple
on Cynthia Erivo's performance of I'm Here, in The Color Purple
A performance that still moves me, in my core. It pushes your soul towards Heaven, just that little bit closer.
🎶 both sides now - by emilia jones- coda
youtube.comfilms and disability and inclusion
The first time I watched CODA, I sobbed and sobbed. Especially in the scene of her and her dad sitting at the back of their truck, and it’s night time, and she wants to pursue her dreams and her dad has to let her go.
It’s a moving and heart-squeezing tale of family. Pulled all my heartstrings and still does.
For a movie with sign language as dialogue, the writing alone is perfection.
What is AI's UI? with Maggie Appleton
open.spotify.comGriff - Miss Me Too (Official Video)
youtube.comfilms and
I need to say something. I love this music video.
I love all dance-y music videos (see: Back on 74).
But everything about this one just screams (quite literally, you’ll see) girlhood.
Sound design
The stomping of feet at 2:24 and 2:50? The screams at 2:56? Feels personal. Brilliant.
Cinematography
I don’t even know how they manage to capture all these spins, drops, screams, bodies tangling with each other and letting go.
The scene at 2:03-2:12 is one of my faves.
The editing here is also pristine. How the choreography feels like it’s constantly moving in sync, in between cuts of Griff alone, and then with her wolf pack of friends, and then back to herself but in long-exposure.
Costume design
How do I describe it? Peak girlhood. Blue-ish and aqua hues with hints of purple, yellow, pink, but so subtle you’ll probably miss it. And the drapery! Skirts and skin-tight tops, and the shoes almost make them look like schoolgirls. Outfits that look thrown together with ‘little care in the world’, but work so gorgeously.
Choreography
The shapes of 0:43. Stunning. Also, the walking around in the background.
The viral choreography of 1:13 lives in my head rent-free.
It’s longing, it’s reliance, it’s fluid, sort of graceful yet wild.
Lighting
The transition from 0:58 to 0:59 – I think about that a lot.
I keep returning to it to watch it over and over again, just to notice and savour all its different elements.
It’s so freeing.
what if public libraries were open late every night and we could engage in public life there instead of having to choose between drinking at the bar and domestic isolation
erin glasstwitter.comlibraries and