One of the all-time greats! I've been a big fan since "Felt" in 2011. It's just astonishing how flawlessly he transitions between his pieces. I sat in the front row of Funkhaus at the January 24, 2018 performance, only a few months before this was recorded. My favourite record is his collaboration with Ólafur Arnalds from 2016.
For posterity's sake, I want to jot down some thoughts on this one, because L'Année dernière à Marienbad caught me off-guard yesterday and I feel I might look at this unique avantgarde piece quite differently in the future.
When it ended, I felt very frustrated about it. It appeared too enigmatic that it left me dumb-founded, like an exam where I am tempted to return an empty sheet. The majority of the dialogue seemed uninteresting at best. The silhouettes (or…
Gorgeously shot and framed, beautiful long takes and steady shots, well acted, but it somehow remained in one place. Dialogues thematically repeated themselves and the characters had too few developments, so it was excruiciating when the mother told us the tenth time that believing in her cult should be the most important for daughter and father. The "theater" scenes were refreshing and it's very unusual to find a LGBT supporting movie from China.
The late Jóhann Jóhannsson's score fusing atmospheric metal drones with 80s synthies, the absolutely stunning, mostly dialogue-less performance by Nic Cage and the neon aesthetic elevate it to a higher score for me than it is actually deserving.
Spanning a story that could probably be summed up on less than one page of script over more than two hours of runtime is Mandy's biggest flaw. Because of that, there are some scenes that felt out of place. You would expect…