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The result is an impressionistic odyssey that spans time and space. Seasons adjust as backdrops change from cityscapes to rolling farmland and back. Spots are never specified, but lettering on symptoms and snippets of speech lend clues as to where Akerman has placed her camera on any given occasion.
The Altman-esque ensemble method of building a story around a particular event (in this case, the last working day of high school) had been done before, but not quite like this. There was a great deal of ’70s nostalgia in the ’90s, but Linklater’s “Slacker” followup is more than just a stylistic homage; the enormous cast of characters are made to feel so familiar that audiences are essentially just hanging out with them for one hundred minutes.
It’s easy being cynical about the meaning (or lack thereof) of life when your occupation involves chronicling — on an yearly foundation, no less — if a large rodent sees his shadow at a splashy event placed on by a tiny Pennsylvania town. Harold Ramis’ 1993 classic is cunning in both its general concept (a weatherman whose live and livelihood is set by grim chance) and execution (sounds bad enough for someday, but what said day was the only day of your life?
Don't dream it, just whether it is! This cult classic has cracked many a shell and opened many a closet door. While the legendary midnight screenings are postponed because with the pandemic, have your possess stay-at-home screening!
Like many from the best films of its 10 years, “Beau Travail” freely shifts between fantasy and reality without stopping to determine them by name, resulting within a kind of cinematic hypnosis that audiences experienced rarely seen deployed with such secret or confidence.
'Tis the season to stream movies until you feel the weary responsibilities on the world fade away and you simply finally feel whole again.
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A cacophonously intimate character study about a woman named Julie (a 29-year-old Juliette Binoche) who survives the vehicle crash that kills her famous composer husband sasha grey and their innocent young daughter — and then tries to manage with her reduction by dissociating from the life she once shared with them hotmail inbox — “Blue” devastatingly sets the tone for just a trilogy that’s less interested in “Magnolia”-like coincidences than in refuting The concept that life is ever as understandable as human subjectivity (or that of the film camera) can make it feel.
But Kon is clearly less interested in the (gruesome) slasher angle than in how the killings resemble the crimes on Mima’s show, amplifying a hall of mirrors outcome that wedges the starlet further away from herself with every subsequent trauma — real or imagined — until the imagined comes to presume a reality all its very own. The indelible finale, in which Mima is chased across Tokyo by a terminally online projection of who someone else thinks the fallen idol should be, offers a searing illustration of the future in which self-identity would become its personal kind of public bloodsport (even during the absence of fame and folies à deux).
Allegiances within this unorthodox marital arrangement shift and break with all of the palace intrigue of power seized, vengeance sought, and virtually no one being who they first appear to be.
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experienced the confidence or maybe the cocaine or whatever the hell it took to attempt something like this, because the bigger the movie gets, the more it seems like it couldn’t afford to be any smaller.
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Mambety doesn’t underscore his points. He lets Colobane’s turn towards mob violence happen subtly. Shots of Linguere staring out to sea blend beauty and malice like number of things in cinema considering that Godard’s “Contempt.”