I didn’t do much with this life, but I helped convince some people to make this movie, and maybe that’s enough.
This review may contain spoilers. I can handle the truth.
“Well...You know, so much of the time we're just lost. We say, ‘Please, God, tell us what is right. Tell us what is true.’
“I mean there is no justice. The rich win; the poor are powerless. We become tired of hearing people lie. And after a time we become dead, a little dead. We think of ourselves as victims -- and we become victims. We become weak; we doubt ourselves; we doubt our beliefs; we doubt our institutions; and…
This owes a lot to "Undercover Brother," "Atlanta," "Get Out," "Sorry to Bother You," and "Us"; it's way too long; and the plot doesn't hold up to much scrutiny. But it's still possible to appreciate this for its style, energy, and ambition, even if it isn't quite as successful as its influences.
“We artists are after the truth, and the truth can be cruel.”
In Jacques Rivette’s masterful adaptation of Honoré de Balzac’s story “The Unknown Masterpiece,” aging artist Frenhofer (Michel Piccoli) has been unable to paint for a decade, and his expected magnum opus “La belle noiseuse” has laid dormant for years. An art collector, a young artist, and the young artist’s girlfriend Marianne (Emmanuelle Béart) visit Frenhoefer at his home in Provence and, without Marianne’s knowledge, arrange for Marianne to…