the devil, where is prada?
Just like the 1st film, I think I see more fun when these veteran actresses would share their memories and recall moments from their personal experiences midway. I like that, while limited, the filmographies of these actresses were celebrated, as special commentaries to films they mention. These stories rarely come out, are seldom heard, and serve as pop culture trivia. It lacks introspection though of an unglorified look into exploitation, but I don't think that's the point. It's a comedy…
An incident suddenly changed France's outlook, as in Bridget Jones's Diary journalism segment meets Lucrecia Martel's La Mujer Sin Cabeza. Surprisingly interesting, as a fully commercial work masked as a comedy (it is funny, especially the dramatic irony of France as metonymy (!) and her outbursts of emotional deadpan (!)). And then it reveals itself as a character drama in comic font, complete with shots and edits deux ex machina. And by far, the best Léa Seydoux performance, having exquisite wardrobe changes and moments of great acting choices— bizarrely enthralling. A
This review may contain spoilers. I can handle the truth.
Monteras II had great mise en scène. But I was angered by its treatment of a fairly problematic appropriation on the conventions of the hip-hop scene that in itself is anti-gay and anti-women. You have an anti-hero at its center whose determination skewed schematic moments of character development (i.e. his idea of cypher would be to vilify a woman about her weight; he let a woman be raped and in his introspection, just cried! ("i can't do anything," he wailed,…
George Orwell stated it well, that the most effective way to destroy people is to deny and obliterate their own understanding of their history. This is destructive cinema. This is reconstruction. This is colonialism. This is Philippine cinema under this president. This is not a film by Khavn. A