This fuckin' shape-shifter... I get more from it with each viewing and somehow it's still a different experience each time. I focused on the stories we tell ourselves to justify our actions; the projections we make, if you will.
Todd Haynes’ career as filmmaker has always been predicated his balancing of the seemingly diametrically opposed realms of intellectualism and emotionalism. His modus operandi is partly formed from the 1950s glossy women’s pictures-cum-societal indictments of Hollywood director Douglas Sirk, whether directly referencing the German emigre's form as well as themes in the Sirk homage Far From Heaven (2002) or building upon the themes of the marginalization of women in American society in Safe (1995) or Mildred Pierce (2011). His latest…