Glass ★★★★½

a work which consistently rewrites both itself and its predecessors, undercutting the narratives it explicitly lays out as a means of reaching eventual and tragic vindication. the tyranny of a centrist surveillance state as a denial of trauma and the experience of otherized parties, though this is of course what ultimately brings it all together and allows for the glorious breakdown of hegemonic control. (meanwhile, Shyamalan’s own control over form is truly remarkable.) 

upon recently revisiting Unbreakable, i remarked that Shyamalan is undoubtedly the most empathetic director in the history of genre filmmaking, but with Glass i see that this is now a bit of an understatement. because as the climax approached, as each character’s conduit for true understanding (Casey, Joseph, and Mrs. Price) arrived at the scene, and as Shyamalan began to reframe the opening shot that started this all, it became clear this director is so much more than that. which is of course to say that he is not only the most empathetic filmmaker in the realm of genre fare, but one of the most empathetic filmmakers period. the last twenty or so minutes of this are just relentlessly heartbreaking and yet filled with such underlying hope that i found it impossible to not get overwhelmed. this is such a strange, beautiful beast of a film—disheveled because it needs to be—and it has already staked its claim as one of the best of the year. 

as an incredible conclusion to an already-great study on trauma and (/as) mythopoeia, Glass is nothing short of brilliant. 


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