sometimes I wish I had a thousand lifetimes.
Undeniably enjoyable yet severely undercooked—the framing of this as some kind of “love letter” to journalism is wholeheartedly inaccurate and results in this artificial sheen and texture to everything that undermines the potentiality of any real meat or substance. Journalism is antithetical to filmmaking; it is more of a mathematical deliberation of societal systems translated into prose, whereas filmmaking abides by a different set of testaments less restrictive and substantial and more experimental. Anderson has always displayed an apt understanding…
Terrorism, under its current definition, is a direct consequence of civil disillusionment and oppression. Terrorism is bred from extremism, which is frequently the only remaining road to travel down for those struggling to cope with their growing unease and discomfort with some political entity. It is, of course, a cousin of revenge, wherein the only motions of escape from displacement are forced by an equal displacement of violence and terror. Because of this, domestic terrorism (although often not labeled as…
One of the primary philosophies of the long take is that a cut can effectively obfuscate the passage of time, and in doing so, lessen the truth of an image. Noé expands upon that by making each cut feel compounded and deliberate, as if the obfuscation of this truth is intentional, in order to embed memory within photography.
guys hear me out what if we *lights cigarette* transformed this sprawling mythopoeic tale of human identity and the dehumanization of people at the hands of institutions of violence into *chugs four loko* a shell of its formal self where the original rugged aestheticism is replaced with a sterile palette of washed-out colors and bad CGI and hear me out what if we also *snorts coke* sexualized the mentally damaged 14-year-olds even MORE than we did in the original
also what if the ending song sucked
disclaimers ahead: actually liked this a lot for most of the runtime. the craft here is overwhelming to some extent, with gorgeous, painterly shots and composition and maddeningly excellent production design. the performances are theatrical albeit restrained, and there’s a general sense of precision that makes the whole thing feel well-executed.
david lowery does not understand structure. just like all his previous films this is a mess of coagulated stories and imagery that serve no greater purpose…