profile picture is by Brooke Condolora from the game "Burly Men at Sea".
Thought it was leaning more metaphorical - it certainly had the potential to go in that direction from how it was set up. But whatever metaphors are buried here are obscured by corny Chekhov’s gun tropes that arrive out of miserably hollow places.
I liked Korven’s work here for the most part. The main kid has a pretty good sense of logic and reason to him without going overboard. It’s surprisingly mindful in its visual composition - this director also…
Interesting accounts from survivors paired with deeply pathetic dramatizations. TV movie Haneke aesthetic. And knowing the director's previous work (Storming Juno, Jonestown: Paradise Lost), that is sadly not surprising.
Evil as interpreted by a textbook glance rather than the pain and nuance of time, both of which are clear in the survivor accounts despite constantly being interrupted by miserable attempts at narrative empathy.
Maybe if I hadn't already been familiar with the works of Claude Lanzmann or any other number…
Tarkovsky is a bit different from other slow cinema artists that dominate other parts of the world. Like filmmakers such as Bela Tarr and Lav Diaz, Tarkovsky holds shots for long periods of time, perhaps with more camera movement than the others, yet when Tarr and Diaz move their shots, they match the mood out of necessity. Their films are slow, so their camera movements are slow as well, makes sense, and they do it spectacularly. Tarkovsky moves his camera…
Sátántangó may be this film's only rival in terms of quality, yet they are near polar opposites, with Sátántangó achieving mood through slow, sprawling, dense story-telling, and Marketa Lazarová punching with every scene of action and dialogue; as flashy and bombastic as possible.
Of course this is all a personal perspective, but if I were to visualize a potential "peak" of film perfection, Sátántangó and Marketa Lazarová are the only films that seemed to attempt that jump. Neither film is…