Methinks Todd Haynes made a better film advocating the preservation of film elements than all the parading Tarantino did with H8ful Eight.

Seriously, though: Ed Lachman's imagery is the star of this photodrama. Cate Blanchett's name is on the marquee, yes, but Lachman's camera eye washes over the viewer, with careful, consolidated direction from Todd Haynes, instilling the subtlest of tensions throughout the whole running time, never truly giving viewers a release. Even the scenes of intimacy never have a "money shot", leaving viewers still intrigued. Normally, unreleased tension is a cinematic no-no, chiefly since it denies viewers what they come for, release via entertaining escapism. But here, I found myself hooked. Some might mistake the use of Super 16mm as an attempt to instill nostalgia into viewers, a la home movies, but I disagree. It's more complex than that, I can say with certainty.

What added to that tension and grace was the most Burwellian score I have heard in years. This may just go down as the composer's ultimate opus, toppling FARGO, much to my contrarian glee.

What an experience! I can't wait to see it again.

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