and who would choose these passions?
Greek allegorical Repulsion with better shots and somehow less going on. All the same complaints I had for repulsion are revisited here so I won’t bother restating them. My appreciation of rain and dark women with good eyebrows couldn’t even save this one from a 5/10. Nikos thankfully improved a lot over time.
It gives me great displeasure to admit that this movie failed. I love art films and all the dogma and esotericism that comes with them. It’s certainly no secret when looking at my ratings that I’m partial to soviet era eastern bloc cinema. So why then isn’t this film a solid 5/5? It has all the right aspects in theory.
Let’s go back to the dogma and esotericism of the art house for a second and pose a question. Dogma…
A french woman with a fetish for metaphors rattles on incessantly about disconnection and alienation in 1000 different flowery ways while images of a man walking, staring at things, and sometimes doing daily activities flash in the background to the sound of angry xerox machines. The only visual representation of thematic was empty scenery, low contrast bleak grey, and the main character being the focus of the shot due to lighting choice and blur. This seems awfully elementary even though…
I think every French person is born with the extraordinary gift of being capable of and keen on saying very obvious things that mean very little but using the most wordy and flowery diction possible. Let me yarn on about my dog’s bowel movement this morning as I illustrate a tenderly breaking dawn in the summer heat and relate this back to some contemporary art bullshit I’ve viewed. Don’t you ever just see a dog shitting and think about the…