So oddball it almost becomes interesting. Cage goes from looking lost about what he is doing there to very committed and not in a good way, sometimes in the same scene. The direction is so bland, it is just a very weird mix with the very bonkers material.

Otar Iosseliani annotations on Paris and its relation to movies. It exists in an unexpected place between the familiar and the unexpected. An amusing lark.

"We're late, darling, we're late
The curtain descends, everything ends too soon, too soon"

One can't stop history. Come for Vertigo by way of Fassbinder, stays to be complete emotional devasted. Literally physical painful to sit through at times. The best thing about Petzold spare staging, the way his images can both feel charged with history and emotionally naked might have never been put to such good use. Also, Nina Hoss is beyond words (Zehrfeld is pretty great in a tricky role as well);

Literally greatest drop the mic ending ever.

I kinda want to punch people comparing this to Demy in the face as much as I wanted to punch Gosling’s (whose self-absorption is put to great use here even if I’m not sure it was intentional). That said, the anxiety of failure that runs as undercurrent throughout this does stings some. It is half a prick’s wish-fulfillment fantasy and half a manic depressed nightmare of someone afraid to be exposed and the way those disparate parts run together is curious at least.