the static shot of the tv on the dresser, the gut wrenchingly long shot of the beach at night, the polaroid, the closing shot; so many beautiful and loaded images that have been stuck in my head since cannes and that gave me butterflies to see again. i also love a good frame-within-a-frame, of which there are many. (that’s kinda what a memory is, isn’t it?)
washed me out to sea all over again
my 2nd viewing: writing is still thin in some places but the set pieces really sing. the “lucky” section alone! so good
i appreciate peele’s looseness here compared to his other films, which are shot tightly and edited like puzzles. there’s much more room to breathe in nope, and it’s not just bc of the landscape (though it plays a big part; the wides are beautiful. no idea how they did some of those night shots.) there’s slightness and patience…
an astonishing feat of filmmaking, in that they managed to make a movie with brian tyree henry, bad bunny and channing tatum somehow unwatchable
aftersun 🤝 the lost daughter
quietly stirring paul mescal movies about a lonely parent in emotional crisis on a beach vacation
wow i loved this one. pulled me in slowly and then knocked me right out. what a beautiful debut for charlotte wells, who i look forward to seeing more from — and cinematographer gregory oke too, whose work here is incredibly striking and still on my mind hours later
perfect film to see while feeling melancholic and a bit bored on holiday, which i currently am…
btw this is the second year in a row that a movie premiered at cannes prominently featuring the macarena
