This film makes some capital C Choices (in the performances, in the plotting, in the staging, in the music, in the editing, in the title's typeface, in basically every department) which generally render it stylistically incoherent, and yet there's a grimy charm and conviction to its absurdity which helps it all hang together. The Farmer is so brazenly, aggressively unlike anything else I've seen that it deserves merit simply for its own existence.
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Koudelka Shooting Holy Land 2015
My man is seriously walking around with two Fujifilm 617s, an Xpan, and a Leica like it's nothing. My neck hurts just from watching.
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Downsizing 2017
There's been much grousing about this being a White Savior story, but it's more of a White Person Learns to Check His Privilege story. Without spoiling the final act, suffice to say that ultimately Downsizing's protagonist actually eschews the grandiose Only We Can Fix This narrative arc, instead learning to be a humble, compassionate asset to those around him. If anything, it is an indictment of middle class, NPR-informed, theoretical social engagement, suggesting that what we really need to do…