ANTAKALIPA

Pulp Fiction: Resurrection, Chance, and the Morality of Cool “That’s when you know you’ve found somebody special. When you can just shut the fuck up for a minute and comfortably enjoy the silence.” If Reservoir Dogs was Quentin Tarantino kicking in the door, Pulp Fiction (1994) was him rearranging the entire house. This is the film that didn’t just announce a director—it reprogrammed cinema. After Pulp Fiction , movies could talk differently, move differently, and believe differently. Crime films no longer needed forward momentum. Characters no longer needed arcs that made sense in order. Morality no longer needed to be clean. Cool could coexist with terror, philosophy with profanity, violence with prayer. At its core, Pulp Fiction is a film about resurrection—literal, moral, and narrative. People come back from the dead. Souls get a second chance. Stories loop instead of ending. Time fractures so that consequence becomes negotiable. It is Tarantino’s great magic trick:...

Quentin Tarantino I have been a Quentin Tarantino fan all my life. From “Reservoir Dogs” all the way to “Once upon a time in Hollywood”. Admittedly, my first Quentin Tarantino film was “Kill Bill” in 2005. I remember the day like it were yesterday. It was on a Friday and it was playing on M-Net. The next Friday, M-Net would play “Kill Bill: Volume 2”. I watched both of them and my life was changed forever. It was film-making I had not seen before. The visuals blew me away, they were exceptionally great. They had a tendency to linger in your mind long after you had watched the movie. So clearly, I always remembered the “Pussy Wagon” and that epic yellow Bruce Lee jumpsuit that the bride was fighting in. That yellow jumpsuit is so iconic, it is memorable, it is imprinted and permanently engraved in the fabric of film – it is amazing creativity and vision from Quentin Tarantino. The fight on the snow between “Cotton-mouth” and “The Bride”; the atmosphere was so smooth and quie...