Beautiful, drawn-out misery porn, and even the beauty wears thin with the hundredth static shot of a rocky beach under an overcast sky. I understand the entire point is that the system, the Leviathan, is too powerful for a person to fight, and it will step on that person like an ant without a second thought, but the series of unfortunate events all just feels too thrown together, with certain events just kind of happening in order to bring about…
Disclaimer: I was given this movie at random by a bot and probably would never have watched it otherwise.
There are 82 cuts in the first five minutes of this film. Fortunately, it calms down slightly after that, but even so it seems primarily focused on rapidly covering its story beats, which are rather scattershot, over developing characters or any sort of mood.
While I can tell the writers made some effort not to paint the American characters in too…
A study of colonialism through the ritualized movement of the human body, and through the breaking and corrupting of those rituals via pride and anger. But when those tensions erupt, even those moments are portrayed as extensions, perversions perhaps, of the serene earthy ritual of the whole, as if they are to be expected, simultaneously fascinating and grotesque in their precision and their dehumanization. I know I've been comparing a lot of films lately to those of Maya Deren, but I swear the parallels are very much present here in the balletic interpretations of the body, masculinity, violence.
Pas de Deux is an absolutely stunning study of cinematic movement. I couldn't help thinking of the films of Maya Deren throughout, as this really seems to pick up where she left off in her use of cinematic language to depict dance. While Deren's dance films (A Study in Choreography for Camera in particular) generally depict that motion traveling through different spaces through clever cuts, Pas de Deux keeps that motion in a single pitch black setting, showing us dancers…