Film Programmer @TroubleEveryDayPresents (IG) | @PrismPrize Juror | Occasional Writer | Film, Music, Ball
Kaluuya is unsurprisingly electrifying, Fishback is a discovery, and Bobbitt’s camerawork does wonders in making this look like a handsome period piece from a bygone era where mid-budget films were the norm, yes. But this is, disappointingly, a one-note, surface-level historical recreation that, apart from its ability to viscerally induce disgust, doesn’t justify its existence as a biopic, nor does it shed any light into the mind-state or context of its subjects.
Not only is its scructure so zeroed-in on…
I don't believe I've ever seen a film that's equally cruel as it is empathetic to its characters. Watching these identities unfold -- or not -- becomes, stealthily, an almost unbearably draining, unsettling experience. The interplay of gender and class with paranoia and vulnerability here is something of an unprecedented chemical reaction; a serene, realistic waking nightmare.
Imagine having this much confidence in your storytelling, pacing, form, and ambiguity... BURNING is essentially the cinematic equivalent of negative space; SCHRODINGER'S CAT:…
APOCALYPSE NOW x THE LAST OF US x 2001: A SPACE ODYSSEY x UNDER THE SKIN x MISSION TO MARS x STALKER x THE THING x SOLARIS x THE VILLAGE x STARGATE x ALIEN. And yet... entirely its own brilliant concoction. Smart, adult, uncompromising.
The closest a film has come to depicting an acid trip, I think. Unnerving and scary as all hell. The score felt like SICARIO’s blended with ARRIVAL’s; foreign, alien, beguiling, almost welcoming, beyond tense. Shouts to Portishead, and RIP Johann Johannsson. Portman reeeeally improving as an actor - incredibly committed.
2018 in film basically already better than all of 2017.