Poorly acted and oft runs awkward or blatantly off rhythm, but the use of real people lends a certain genuineness resembling the Home Movie. Its cinematic blending of reality and fiction is shockingly obvious but admirable.
73/100 - Good.
Written in 2015, an article drawing parallels to Bresson, Wong, Yang, and Sirk: bit.ly/1J9Y1h1
[REVIEW] 98/100 - CAROL (Todd Haynes, 2015)
'Carol is Haynes’ ode to cinema. It is the cinema as life. It is the cinema as craft. It is the cinema as supernatural. There is little that has existed before in cinema which does not exist in Hayne’s masterpiece. Carol is the culmination of cinematic art in the year 2015. Carol is truly a film of the ages.'
Piece published on Aesthetics of the Mind:
On second viewing, I confirmed that Moonlight is truly a contemporary masterpiece, and currently the best film I've seen in 2016. My truncated review of past explained my primary observation: that the camera searches for and amplifies the quiet peace found in fleeting moments of connection with others. Herein, I wish to elaborate.
Though presented as a conventionally structured coming of age drama with three distinct chapters, Moonlight is far from a…
Review Posted at Aesthetics of the Mind
Paul W.S. Anderson rejects history and unapologetically creates a fictional story which constantly makes reference to its own artificiality. Affective images (emotionally affecting stills), saturated colours, and the hyperbolization of reality are features of its imaginative aesthetic, of a unique and auteur-driven vision of a fictional world: an artificial play which generates much genuine human emotion. Love is its content, from the love of Milo and Cassia to the brotherhood of Milo…