Hammers home the skill and vision of the best essay filmmakers through what it neglects to do. Mozos' tribute to critic and programmer João Bénard da Costa is a well-intentioned but shapeless and messy work that flirts at something fascinating - the relationship between love of cinema and our conception of death and memory - but never deals with it coherently; da Costa's voice is sloppily matched to an inconsistent array of images (ugly landscape cinematography, poorly transfered/digitised photographs, well-framed flatbed projector, hands turning pages in books).
Almost instantly forgettable, Nolan's latest feature might contain some stunning visual sequences but they are squished between mountains of clunky exposition, underwritten characters and cringe-inducing dialogue.
The film takes 45 minutes to actually get started, the Earth-set first act tethered to a very poorly explained future and weirdly simple plan to save it before we actually get into space. When that happens, we find ourselves at a recurring juxtaposition between some of the best visual depictions of deep space ever…
I'm not entirely sure what this film thinks it is, throwing so much shit at the wall and hoping something profound sticks. I do know, though, that without that really good drum score it would have been a whole lot more dull to sit through; we witness the process of the film figuring itself out, messily and unconvincingly over its far too long runtime.
Norton was great, if you want to tackle self-obsession and ego in art and theatre, make…