Petite Maman, Maman Petite, Petit Film.
This has nothing to do with Portrait Of A Lady On Fire whether it be in scale or aim, and should not be compared with it. It’s an intimate, one hour long story featuring three characters and set in one location, reduced to a minimum. Nothing really stands out as the film is meant to be experienced as a whole : all is sober and simple and that simplicity brings a touch of sylvan poetry…
After two opus of being criticized for hiding its monsters in favor of insipid human characters, Godzilla vs Kong finally gives the people wha they want: it doubles down on monsters, on fights, on stakes. But it always gives the impression that something is off, lacking the gravity and realism of its 2014 predecessor and King of the monsters' visual flair. By dint of making everything go bonkers, it fails to capture a certain sense of grandiose, matrix of the…
Minari is truly the best. It grows anywhere, like weeds. So anyone can pick and eat it. Rich or poor, anyone can enjoy it and be happy. Minari can be put in kimchi, put in stew, put in soup. It can be medicine if you are sick. Minari is wonderful, wonderful!
Like the eponymous minari plant the film is named after, the family gently captured by Lee Isaac Chung’s camera could grow anywhere. Led by the father’s ambition of becoming…
“Gentlemen, we need audacity, more audacity, always audacity” Danton (1759-1794)
Promising Young Woman has many problems. It could use some subtlety in the way it moves forward with its subject matter. It suffers from a predictable narrative during the two first acts. But it has something that inexplicably makes it so special: it dares. It’s incredibly provocative, stylish, ferocious, bold and never once lets the viewer off the hook, which makes for a visceral experience. The extremely dividing ending is ultimate proof of that. In a cinematic landscape which sorely lacks such boldness, it’s worth being noted.