Of the handful of Hong films I’ve seen, this was my moment-to-moment favorite. As he riffs on a host of midcentury European arthouse films, he condenses the expected conversations about relationships into hightented scenes that enhance one another by how much they diverge as much as by how much they converge. The film feels like a bit of a greatest hits package of scenes that other films might spend an hour building toward, but in Grass they tumble over one another with a connecting thread of mini-scenes that challenge the role of the author and observation in translating life into film.
Second viewing confirms this is among the handful of films I'd consider my all-time favorites. Everything I want in a film is here. (Well, I could use a chase scene with a car explosion, I guess.)
What's the movie about? It's about an hour and forty-five minutes.
An hour and forty-five minutes of dizzying, glorious, beautiful starts and stops, ideas and emotions, reality and fiction, truth and lies, beauty and deceit. AK demands our attention, but doesn't mind if we…
Aaron Sorkin demands that at each moment you recognize exactly how intelligent he is. Every turn of phrase, overlapped sentence, and twist in the argument screams to be heard as written by Aaron Sorkin. The obvious problem with wanting people to know just how intelligent you are is that people will find out just how intelligent you are. One surmises that everything Sorkin has contemplated in relation to technology, online/offline, class, social hierarchies, elitism is right there in the script,…