Welcome to New York

Welcome to New York ★★★★★

FIrst thoughts: This together with 4:44 feels like the beginning of a new phase for Ferrara, a "late master" period perhaps. Ferrara leaves behind previous concepts of Marxist deconstruction for a new interest in myth and classicalism; archetypal deconstruction is now the road taken. For example, there is no "left" or "right," there is only power. Even compositionally, Ferrara prior would bring to mind Fassbinder, Godard or Bertolucci, but now brings to mind the Straubs and late Ford. The extraordinary cross-fades of previous films, are yes, sadly gone for the most part, but it's replaced with an interplay of line, color, movement and geometry. Like the the later Fords and the films of the Straubs, these compositions find the abstractions within prototypical forms both through aesthetic and content, which Ferrara rightly refuses to make any distinction between. There's a hell of a lot more....someone could probably write a hell of an essay on the depictions of all the non-whites in contrast to Devereaux. I've got to see it again...but yeah, one hell of a masterpiece. Also, about 40% of the movie is in French, and they're perhaps the most important. Ferrara is king.

Block or Report

Neil liked these reviews