the bluebeard legend will never die as long as the world is full of blubeards, "i feel love" plays during the discotheque murder because it's the universal song of love and desire. this is truly perverse in ways the noisier giallo cousins can't even touch, because not despite what can't be spoken. when she opens the door to see the father, the plaintive look the girl gives him in the flashback, the hand rising from the ground when the water…
the dharavi slum as a world inside a city, a kind of trap of time and dreams. on the brink of economic liberalisation and half a century of history seems to churn about, the scars and dreams of the past there to see in every fading movie poster. time one key - when one character mentions late in the film that over a year and a half of time has elapsed since the film's beginning it's as quietly horrifying as…
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