Cubussoli Very very predictable, including the post credit scene !!!

Usamah Harvey The film's masterful storytelling did its job. The message was clear. No need to overdo.

Geraldine The story, direction, characters, and writing/dialogue is akin to taking a tranquilizer shot to the neck, but everything else was so well done.

Caryl It is a whirlwind of delight --- attractive actors, stunning couture, spectacular sets and outrageous parties. It's a feast for the eyes. But what really makes this dramedy work is the acting.

rzajac I loved Decasia, but for reasons that might evade others. Hence, I'm not inclined to recommend it.I get a wonderful, visceral response to extremely complex noise and chaos, and Decasia is nothing if not a rampaging smorgasbord of same. So, I was in heaven, watching it.I got a kick out of the music. I spent some of my viewing time reflecting on the composer's process. Fascinating!I suppose I should chime in on the mythic payload. Respectable, seasoned commentators ply a line about the film as a commentary on "morals". Pishposh! If I take away any arc from this piece, it's a running commentary on decay; that chaos deserves our respect. It a powerful idea. It's another reality that, once we face it, pushes us to self- actualization. It reminds me of the aesthetic of John Cage in this regard.One of my disappointments (strange to say, in light of what I said above) was discovering that the film's decay effects were also "found". Those effects were so wild, wooly, rich, redolent that I entertained (for the filmmaker) the conceit that they were meticulously engineered. Well, they *were* engineered, but by Loki, Eris, Kali, et.al. Which makes it all only that much more impressive, come to think of it....

n_r_koch Apart from its sheer dullness (it's a 30-minute 1920s-Surrealist-style montage, backed with tedious atonal music and stretched to 60+ by running it at what appears to be 8 frames/sec) this is the most dishonest piece of nonsense I've seen in many years. Some of the footage is visually striking, especially the hauntingly decayed comedy sequences. But Morrison didn't shoot any original footage. Yet he credits himself, and rather prominently too, as the "author" of the film ("editor" would be more accurate). He's even got recognizable footage from some commercial comedies in there. Yes, it's badly damaged. So what? So is the inside of the Sistene Chapel. So are "Nosferatu" and "Intolerance". But no other director's name or title appears anywhere in this film, although the archives that supplied him footage surely know what they are. It's as if Morrison took "The Strange Love of Martha Ivers" and "It's a Wonderful Life"-- which are also damaged, and also in the Public Domain-- chopped off the Milestone and Capra credits and edited them into one movie, "Bill Morrison's Christmas Story", and then copyrighted and sold it. Since these source materials are in the Public Domain, it wouldn't be illegal to do so. It would just be in incredibly bad taste.

slake09 I saw this at the Cleveland Film Festival, and the Director, Bill Morrisson, was there for a Q&A session afterwards. It was hard to sit through the film because most of it is the same; the same images, the same sounds, just a lot of decayed film. No doubt it seemed like a good idea for an experiment, and it was, but if you're not into experimental film making, you will absolutely hate this, as you can see from other's comments.If you are into experimental stuff like this, you might see the point or even like it. The film maker definitely put his neck on the block by creating it; you wouldn't find James Cameron or Quentin Tarantino doing something like this. Maybe Harmony Korine or Richard Kern.In any case, what you'll see is a lot of damaged old film, of nothing particularly interesting, accompanied by a repetitive soundtrack from out of tune instruments. Most of it is very repetitive and somewhat monotonous.

jd3prod I have seen a few films regarding the decay of old film stocks, but this one really brings out the beauty of such images. The slow moving images presented with this progressive avante-garde soundtrack brought back memories of the old school industrial musical movement of the late 70s and early 80s. But when it continues onwards to the scene of the Geisha girl lost in a soup of decay and stains and the music rose with its intensity I felt as if I was witnessing wonderfully horrific. I could actually feel my heart beginning to race with the onslaught of the images and sounds mixing together, moving faster and becoming more agitated and excited.I recommend anyone looking for the modern "art" in films to give this one a try.