Soft and undemanding. Unceasingly beautiful in the simplest of ways. An absolute, cinematic masterpiece.
I can't say anything else that hasn't already been said, so I want to share this video essay featuring Richard Linklater that absolutely MUST be seen. It beautifully translates that transcendent, naturalistic progression of time that Linklater first experimented with over the duration of his Before trilogy, and simultaneously while shooting this project of incredible scope. Please, do yourself a favour and watch it. If you've already seen it, than watch it again.
Casting is impeccable. Robert Downey Jr. was born to play this role. Duvall is in top form. The film itself, on the other hand, seems to have one foot in exciting, innovative filmmaking and the other snagged down by a withered indie film formula, and one that isn't particularly interesting, sadly enough. There are scenes when the characters appear to be physically forced by the will of the plot to act in certain ways, and it's in those moments that…
You know, this actually made sense to me. I was bracing for a fevered surrealist nightmare, but this felt much more like a coherent narrative than anything else.
I found myself eerily reminded of Bergman's Persona more than once - was that just me? Not only a sense that the two lead women might just be the same person, but a similarly energetic claustrophobia that pulsates in the silences between them. There's sexual energy, but there's also sincere compassion and…
I have a new theory about Lars. It has to do with his flagrant tendency to force the hand of his narrative into impossible contortions until morality is thrust into the frame, naked and trembling, daring you to feel emotional involvement with actors on a film set.
Take Uma Thurman's scene. Only an idiot would script such a ridiculously contrived scenario: the wife of an adulterous man brings their three sons into the apartment of her husband's whore so they…