Often McQueen's best compositions are static, quiet, resting on slightly augmented or distorted faces and bodies. 'Widows' is frequently mobile, careening in a startling, stomach-churning spiral. Perhaps its refusal to stay still means it occasionally loses focus. When it's on point, though, it's fucking incendiary.
"I love your oboe."
To stay in step on diverging paths. Dodges social binarism & blooms into a heartbreaking tale of love & dependency as difficult bed partners. Delicately gorgeous; a pin-precise tonal work. Flushes of messy color against reality's cold contours. Naoko Yamada has the wisdom to use 'Sound Euphonium!' only as distant backdrop. Kumiko & Reina are used only as footnotes, and wrenching ones for those in the know.
As a film, 'Liz and the Blue Bird' exists as a literal…
I'm gonna go moan about the isolating social landscape of assumed heterosexuality.
The worst part of 'Inside Out' was its lazy presumptions on gender identity. That's much the same here, where mom's sexuality is Berlin's "Take My Breath Away" and Dad's sexuality is ACDC. C'mon, mom! Break that crap with some FKA Twigs!
I’ve never been in a romantic relationship yet, which is not to say I’ve never been in love before. Films about love and films about romantic relationships don’t go as necessarily hand-in-hand as they might seem, and Eternal Sunshine of the Spotless Mind is chiefly about the latter. There are particular rhythms to relationships that are perhaps most easily noticed from outside them, and if you can track those rhythms predictably enough, who’s to say you can’t destroy them? That’s…