"I may not have a credit card but at least I have my life."
Interesting to notice so soon after rewatching High Life and noticing how much betrayal factors into that film, and to a lesser extent the 2 prior features before it, but how big of a role it is in this one. The bitterness in her work seemingly being upped more and more with each film. Trust is earned, longstanding relationships tested, but you will always wind up…
Perhaps a little too on the nose for my taste but this does feature some incredibly beguiling sections that in some ways feel totally separate from the rest of Denis' work. At points it recalls the work of Cronenberg (both Crash and Scanners) more than her own, the coldness and apparent sterility of the images feels strikingly distinct among her filmography. It's sorely lacking in the textural depart, at least for me, as so little of this comes across as…
This interests me more as a cinematic object than as anything particularly deep or insightful about anything. I like Eggers, I think he's one of the crop of A24 filmmakers who've come to prominence who actually has chops, even if he happens to put them to use in projects that are less than the sum of their parts. I still think The Witch holds up but I was never fully onboard with The Lighthouse, and The Northman follows suit with…
I guess this is what could be called a "feel bad" movie since it doesn't really make me feel good but I do find it to be endlessly rewarding and comforting, perhaps strangely. The emotional resonances in here ring harder and more true than either of the films that surround it, at least to me. It's less consciously existential and obfuscating in its narrative, allowing its performances to drift in and out of said existential "angst" (I hate that word)…
