Same story as with (the feature length) It's Such a Beautiful Day for me: if this were my first Hertzfeldt, I dare say I'd adore it. But that was Everything Will Be Ok, and for all the ecstatic aesthetic invention on display here, I'm not sure I took anything from World of Tomorrow I didn't already get from that first encounter*. He's a pretty singular filmmaker, Don, but I'm starting to worry that singularity's being exhausted on a single idea, however dynamically dressed-up it might be.
* Sudden recollection that I saw Rejected before the lot; huh, make that "first positive encounter", I guess.
It's always nice to have your take on a film subtly shift over multiple viewings to appreciate its nuance, but I can't help but look back on misreadings with a wince. To lament the film's dual normalisation of gay love and lust and its impassioned anger toward heteronormativity, as I once did, is rather to miss the point: we can't have this relationship just as the story of two people falling in love, because we haven't been allowed to. Haigh…
Certain films you love because they touch you personally. Others you love because they tell a story so gripping you feel part of it yourself. Some you love for their part in shaping you as a cinephile, even as a person. Then there are the handful of films you love simply because you must love: because they represent so bold an authorial vision, so striking a view of the world, so wholly unique a perspective on life through cinema, that…
Why do I hold Werckmeister Harmonies aloft as the greatest film I have ever seen? A huge part of it, admittedly, and the thing that makes me think it will remain my favourite film to the day I die, is its profound personal relevance. I first saw the film about 5 years ago now, at a time when my interest in cinema was in the very very earliest stages of blossoming. It blew me away. Takes that long, images that…