history as ellipsis and memory, etched in images of the greatest clarity. up there with hou's puppetmaster as one of the great films thinking through how to situate an individual in an era and a frame.
poor woman falls in love with wandering beggar (actually wealthy heir who has refused wealth for the sake of charity) before losing her memory in a horrific train accident; a romantic triangle forms between her, the beggar/heir and the professor who falls in love with her in her amnesiac state and refuses her treatment, for fear she won't love him when her memory returns.
if this isn't as strong as mehboob khan's two '40s romantic triangle classics (andaz and anmol…
jauja is often but not always about a man trying to walk through a landscape without falling, although he ends up falling often.
jauja is a film for people who love horses and dogs.
the horizon in jauja rarely dominates, it is a landscape film where the screen is most often dominated by tall grass, rocks, dirt, still water, rocks. in one of the central moments the night sky dominates the frame, but in that shot the central figure is…
what i remember the most -
the range of voices, accents, rhythms of speech
hemsworth looks down on wei's neck as they're flying, and mann's shallow focus tricks become a vehicle for a kind of love, in that moment
the sheer terror of the firefights, the vulnerability of the men and women
the eyes of viola davis in her last close-up
whatever 2015 is or will become this seems like the right film