The only unique element that Padilha brings to this workmanlike thriller is an unexpected obsession with politically charged interpretive dance. It’s not exactly what I was hoping for, but you take what you can get.
Full SN&R review HERE
Including twenty-four of these “frames” offers a neat symmetry to the philosophical dialect between photography and cinema (24 frames a second, don’t you know), but I ate my fill around Frame 14 or 15, after which the experience became fairly punishing. By the time a caterwauling French busker wanders into a shot of the Eiffel Tower, I felt like I was watching Kiarostami’s failed experiments rather than his successes.
E Street Film Society review HERE