I love disaster, and I love Mary Astor.
Precisely what is the subject of The Gleaners and I? Is it the picking of what remains after the harvest, the scavenging to survive in rural and urban settings and all the injustices thereby implied? Is it art — the interpretation of hardship, its funneling into beauty not only in impressionist works but in a (now-crude) digital camera’s tracking of abandoned factories and dull streetlights outside a train station? Is it aging: that of Agnes Varda’s own hands, that of…
An engagingly uncomfortable thriller about sexual assault touching on themes of comeuppance and forgiveness, with an outstanding lead performance by Carey Mulligan. It's not without contrivances, especially its final moments, but is generally barbed, vital and provocative, and I really appreciated its sidestepping of most varieties of redemption for its characters. I had real skin-crawling fun with this and I can't wait to see it again.
Once again, glancing at some of the divisive responses to this is a really…
Exactly what the culture needs, another narrative perpetuating the myth of the Inevitable False Rape Accusation, the threat of which is apparently constantly swirling around all men all the time. Is Reddit trolling the IMDB or something?
I hated this so much I don't have the energy to go in-depth; luckily, Jonathan McCalmont did.
(And yet, it's Lars von Trier -- who actually writes three-dimensional female characters -- who gets all the histrionic scolds from know-nothing crits. Why!?)
This review may contain spoilers. I can handle the truth.
Random thoughts for the day I watched this for the first time in many years and afterward realized it's been almost exactly a decade since I saw it in the theater, which is a weird feeling:
When this was released and my then-girlfriend and I saw it and were enchanted by it, I had never been through a breakup. Funny how getting older changes how you see a film like this so much. The scenes establishing Joel and Clementine's relationship…