“and then it shrinks.”
Forgive me as this probably sounds like a huge stretch and I’m likely only thinking about it because of my love for both directors but I can’t help but be reminded of the work of Andrzej Żuławski… something I really connect to in much of his films is how he seems to have his characters externalize their thoughts, feelings, etc—everything that could possibly go on inside a human mind, especially one in distress—to the point where…
really a fascinating movie. to work within the framework and aesthetics of dominant western filmmaking (especially taking war films as a whole into perspective), from the operatic scope and melodramatic beats signaling hope and grief all the way down to the way the entire film is shot and of course the cast of international white stars rather than actual libyans, and repurpose the toolset for a film in celebration of resistance against colonialism by any and all means necessary. i'm…
The subpar writing/awful character decision making kind of lets the “mean spirited hopeless horror” down when I’m more busy being frustrated at dumb characters breaking rules that were carefully spelled out to them repeatedly (and kind of put off by the portrayal and usage of autism… but that’s a whole different conversation) than I am being caught up in the dread and horror. Some great moments though
I was expecting something different I think… not quite the queer masterpiece I had thought i bought a ticket for. So good when it’s being impressionistic but when it’s not… idk. There’s this one shot of Leslie in makeup against banners in the background and falling glitter with swelling music that cuts through the bloated text of the film with what I wanted from this, and was worth the price of admission alone. The trans aspect is played so beautifully…
if a man doesnt propose to me by walking through a foggy field at dawn with his shirt half unbuttoned then whats the point of it all
