This was discussed pretty thoroughly on my podcast with its director, Ryland Walker Knight. Ryland has reservations, but I think the way the film "scrapes" its narrative, and uses that Soderberghian light for this cooling calming and warm effect, is quite great. Short films are so often bad, so it's nice to watch something that feels unique and not just a "calling card." He's interested in making a short film. You can watch it here.
"The events become more paranoid and yet less tangible as Hopper takes control of the narrative, a game of make-believe that’s always set in cinematic realism. Wenders’s camera relaxes amidst all this chaos — frames feel controlled but never specific. Reality bleeds onto the scenes through the film’s commitment to a European flavor without ever really cementing its specificity. It’s the eyes of a German looking at his own country through the lens of the Americans he loves."
"In the history of photography and film, getting the right image meant getting ones that conformed to the prevalent ideas of humanity. This included whiteness, of what colour—what range of hue—white people wanted white people to be....Movie lighting assume, privilege, and construct whiteness" —Richard Dyer, "Lighting For Whiteness"
The history of Hollywood in many ways is the history of the construction of whiteness. This goes beyond simply films that have depicted African Americans in stereotypes or margnizaled their roles in…
I could talk about how this film's structure finally achieves the blissful melancholy that has been at the heart of all of Wes Anderson's films. I could talk about the precision of his framing and tracking shots, and how often he finds visual comedy through a perfect edit, or the slight entrance of new material into the frame. I could talk about how depressing the film is, the hints of both a traumatizing past, and that in a way, Sam…