A brazen, beautiful, and jagged piece of filmmaking, so raw and so personal in its depiction of Madeline’s emotional turmoil, but crucially never exploiting it the way that Evangeline does. Emerging from the haze like a birth at the film’s opening, Madeline’s alternately playful and weary perspective drives the film, as she gradually becomes more and more confident in her self-expression through performance. Even though she is slow to realize the way she is being exploited, Madeline is never a…
Was cautiously uncertain about the direction in which Strickland would take his story of the emotional complexities of a sadomasochistic relationship where both parties are not quite on the same page about what they want, but was relieved to see that he deftly avoids melodrama and unnecessary twists or false dramatic notes to keep his film emotionally honest, even as it routinely eschews realism for haunting, atmospherically thick and surreal sequences, as if seeking a novel way to represent the…
A beautiful, ugly, loving, listening, patient, messy, explorative, questioning, representative, amusing, heartbreaking, enchanting, visceral, enthralling, and ultimately admiring film. Simultaneously formally transgressive in outrageous ways befitting its mature, (relatively) progressive, and empathetic treatment of its subject matter, and also visually and emotionally breathtaking, a volatile but rapturous exploration of queer existence. Not flawless (the lead performances are all given by cis male actors), but still reflexively self-aware and regularly challenging the status quo and hetero/cisnormative understandings of gender. Crucially, Matsumoto…
A tender and bittersweet movie, full of sadness and celebrating the preciousness of the mundane moments of a life spent with someone meaningful, that often go unrecognized until their continuance is under threat. It’s most evidently inspired by and at times directly evocative of Ozu, but there are other sequences that remind me of Kieślowski, and are almost Dekalog-esque in the way they distill moments of simple, invisible domesticity to their (often tragic) emotional essence. Also, that scene in the restaurant might be the single most beautiful scene Denis has ever shot, which is really saying something. I love it.
Might like to read a review.
To feel the warm thrill of confusion,
That Adam Cook glow.
Tell me is something eluding you, sunshine?
Is this not what you expected to read?
If you want to feel emotions this film will arise,
You'll just have to claw your way through Geldof's eyes.
Harmony Korine's Trash Humpers was a difficult film to watch and is proving all the more difficult to write about. Its protagonists are disfigured men and women who stagger around blindly engaging in various acts of mindless depravity, spouting poetic dribble, singing unsettling nursery rhymes and shouting arrhythmic phrases such as "MAKE IT MAKE IT DON'T FAKE IT" and "GO TO SLEEP! YOU GO TO SLEEP!" They cycle around dragging doll torsos behind them, and forcefeed their friends pancakes soaked…