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Miss Clofullia Jul 2016
We’re making movies that no one will see,
about things that mean the world to us,
at a certain moment in time and space,
but that mean less than a rat’s *** to anyone outside our bodies.

We never regret the echo in the large hall,
nor the words that OUR scarlett and OUR rhett say to each other
during the 126 minutes long director’s cut –
their tears are ours,
their love,
despair and
hunger for life
will be included in next month’s newsletter.

We’re making movies about those parts of our lives
that weren’t played out so well.
It’s our way of saying “sorry” or “thank you”.

We’re making movies that some don’t even call “movies” –
intimate quantum leaps, inner fights between our bodies and minds.
It hurts us, yeah. We’re not (all) made of stone.
We, sometimes, get frustrated and don’t even know exactly why.

We wake up in the middle of the night,
running the entire dialogue list in our head,
sleepwalking through the entire movie,
screaming at our non-suspecting sleeping significant other to be quiet and to get out of the frame,
“cause we’re ******* making a ******* movie here and every ******* second matters”.

We’re making (silent) movies because
we’re tired of all this noise,
because
that’s the only way we can have some “Aaaaaction” in our lives
and some frames to be proud of.

We’re not making movies to prove that the world is wrong
nor that we possess the ultimate truth.
No.
We’re not making movies to prove that the world is beautiful
and that we know nothing and that that nothingness should tickle your funny filmic bone.
No.

We’re making movies that make the entire world think that there’s something wrong with us,
that we can’t relate to our surroundings in a healthy and normal way.

We’re making movies so WE can experience, in the most familiar way,
the new wave long shot convention that YOU all hate
and diss in the digital environment,
as if your lives were made out of fast cut blockbuster shots
and not lonely, long walks through a dull park. Good for you, Max!

We’re making movies because
we don’t wanna have to explain ourselves,
like I’m doing right now.

Reality sometimes needs its own subtitle and.. ****! You know what?
The truth is that we’re not making movies.  
We’re making moves.
Paul Goring Nov 2010
As a filmic experience
it left me rather cold
The dialogue was
at best
Improvised
And crucial scenes
fell out of focus
Amateurly so

The lead frankly
Disappointed
Wandering through
the plot
randomly
And cathartic opportunity
Was lost at every turn
Naively so
Copyright Paul Goring 2011
Paul Goring Nov 2010
Spiked words
Carefully driven
Beneath her finger nails
Barbed even

Black & white Polaroid
Tucked behind the mirror
At an angle
Jaunty
I guess they’d have called it
If ‘they’ had ever bothered
Visiting her bathroom

I think if you were genuine
I’d be intimidated

I think
If you'd seen it
That you wouldn’t have
Asked
No really – I believe
That you have a sense
Of how the scar
the shadow
the blemish
came into being
By his hand
that night

And so you choose
distance over
a tactile
filmic hug
Copyright Paul Goring 2010
John Dec 2012
Filmic landscape
Black night
Lit only
By weak streetlights

Stroll into frame
Lend me your hand
This isn't for fame
While times slips like sand

Through fingers
With a rough skin
Nothing catches on
Quite like a kick in the shin
MRQUIPTY Oct 2016
now still the doubt of the press
from expectant crowd. chance
on sure steps to march one
direct to the crux of now

serendipity

door opens to the face

red traffic lights ...
in rear view mirror

bits rip into place
hit and click like
flickers of old film

gate flops
scene
gate open
scene

whirr
end of film

slapslapslapslapslap

gate strobes lit wall
spits white light and
hiss

Zen.

Mind zips to picks of times
spat black bitter to crack
wide the corral for Id

white noise

shattered reality confetti
uncertainty into notion
of solid silence

there are no voices or
punch points

filmic . ego watches
the flashes as if asleep
ConnectHook Apr 2018
Lovely angles, muscles, motion
roused the pitch of hot devotion.
Banners raised as standards flapped
orders barked, salutes were snapped:
volk emotion.

Olympiads and warrior rallies
Mountain maidens, Rhineland valleys
showed forth her visionary arts.
This Überfrau demands our hearts’
analyses.

Leni filmed it with a flair
made us feel that we were there;
over, under, moving through
a merely mortal flaw: her true
**** affair.

Misbegotten Roman signs
intensified her visual lines.
Cinematographic blame
forestalled by Leni’s optic frame;
her vision shines.

She’d tackle any reef and stall
to answer nature’s filmic call
diving deep and wrestling Kau:
light in Sudan’s darkness, how
it can enthrall.

Has history been unkind to her,
this cinematic Lucifer ?
Or is she vindicated
and rightly adulated
as memories blur?

No one dares excuse, nor coddle
propaganda’s super-model.
Yet, the audience must admit
Leni was no hypocrite,
ours to throttle.

Liebfraumilch-maid ? Much depends
upon the angle of her lens
Leni makes the cameras falter,
wondering if film can alter
history’s ends.
HAIKU be all, like:
MINIMALISM baybeee . . .
(kickin’ Snapchat’s ***)
Down the street of where I grew up, residents here were quiet and simple and made homes.

One of these homes got transformed.

Rooms with a view, the views not of sky scrapers and greener pastures, it just means whenever you are at the Atelier, they could be in the middle of an exhibition.

I suppose it doesn't stay the same.

New meanings with every visit.

It keeps things interesting, and thus who knows what you will find.

On Thursday games are laid out, we play charades and I squeal with excitement over all the filmic clues.


3, faces makes this plot.

Retro Africa speaks for the movement of black arts and creatives.

Atelier welcomes you to a home outside of a home.

If you connected only through art and are starving for real sustenance, take a walk to the backyard.

That's where we have all been going.

We meet up at the Pavilion where the food is by 6pm,
When the sprinklers are on, I wanted to be closer to the water and smaller sounds so we drifted.

A plastic bench and our feet up, that smell of wet greens as the day fades away.

The type you don't relish but want to steal away.

So we talked, we talked about art.

Questions and meanings and being okay without answers,
Our words didn't drift into the night, I suppose.

I don't know that they did or our voices were carried with the wind.


Our laughter might have, they weren't constant but sturdy.

Thick, no accents but free.

A surprise sequence follows this change as we met the Mrs.
A few minutes later, we were back in the corner.

The Mrs. Goes to lie by her husband on the wet greens the sprinklers had been on, before she joined him.

He said trust me you want to be here,

It made me think, this was a place you wanted to share.

Only in its smallest forms in the smallests bits taking very little.


There are no embellishments this time.

Maybe simple never goes out of style, but before Monday, we were here on Saturday.


That day we drove through the city, cheap drinks from Ceddi and by the cadastral zone we stared through Central Park, cutting across River plate and overlooking the secret Garden where we met again for the first time, Lo almost a year ago to the day.


Like the beginning, before the art and different names and different careers or the general mechanized change which had ensued, which we hoped wasn't over-bearing.


One thing remained.

So I say,  " I love Abuja, I wouldnt want to live anywhere else"
She nods in understanding, similar words had left her lips too many times before that day, that hour or in those moments.


Street lights shadows across, and a sense of a beginning.

Our city's charm being one of many things, but on that night, it was the feeling of a kindred spirit.


As one listens, the other affirms,

And what matters might be bigger than the voice which says it, so being able to sit to record a day was like everything else we liked.



(Signed: Aida Oluwagbemiga)
Here at the Riesenrad,
black Eckelberg eye
observes violinists.
There, a choir of mustard leaves,
swirls of Ich and du
clog the air, night blanketing us
in a filmic noir.

Here, the chalky bracket of the Hofburg extends its arms
as if embracing us.
Inside: glinting-finger chandeliers,
ensembles of books
like lungs of rust,
children toddling past
with goldfish mouths.

Here, a café, early morning,
lemon light sweeping through the windows,
gurgle of students, old men
with a steaming großer Brauner,
a wrinkled Die Presse on the table,
****** of tablespoons at breakfast
and simmer of strings at evening.

And it was here, in ’67,
post-they-think-it’s-all-over,
where a barefoot brunette
sang a tune about puppets;
now our hearts tick
to an orchestral melody.

So here, under a periwinkle sky,
students with Zweig on their minds,
sizzle of German on their tongues
continue on their way, as do we,
footsteps waltzing through
the heart of Europe.
Written: 2018/19.
Explanation: A poem that was part of my MFA Creative Writing manuscript, in which I wrote poems about cities that have staged the Eurovision Song Contest, or taken the name of a song and written my own piece inspired by the title. I have received a mark for this body of work now, so am sharing the poems here.

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