McQueen’s form has gotten more conventional and straight-forward over time, choosing to let texture and colours stand-out rather than composition or visual quirks. His lenses love the human body, how they move and breathe, and this more muted (or: less photographic) aesthetic fits McQueen’s interests so much better. His close-ups here are probably one of my favourites of the year. 

The bits of social issues came off as world-building rather than commentary, which was very in tune with the overall theme of grief and moving on from grief. It seemed to say: bad shit happen, and we deal with it the best we can. May it be trying to salvage a broken relationship or pulling a heist to keep your head above water in the darkest of times.

Yeah, this is my kind of high-art-trying genre pulp.

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