Striking portrait of a dwindling Manhattan art and social scene that was in the process of being pulverised by the yuppification of the financial sector. The characters move to escape conformity and fit into a crowd of fellow outcasts but find themselves out of favour with a changing city that pushes them back out to the fringes. The turning point from NYC as a dreamer's playground to a life of grind and hustle.
Confronting alienation through an internet connection is a theme bound to age well considering its role in modern life. The email relationships feel very authentic, with a realistic mix of exaggeration, fantasy, lies and darkly honest confessions. The film is quick to break the illusion of the dishonesty, lining up a portrait of real life far different to what is portrayed online.
Conveying digital correspondence onscreen was an open question in '96, with some films able to innovate and visually…
It's hard to sum up with just how much contempt I hold these actor vanity projects. What is Shia trying to tell us about his life here? We all go through bad things (for many of us, terrible and irreparable things) and in an artistic vision it's important to use those bad experiences to teach us something about ourselves or the world around us, yet any nuance situated in the film's script comes up like a blank piece of paper.…
Wim Wenders described Red Sun as "very cheap" and "artless" but in a way this was an exercise in cementing his own aesthetic reasoning, seeing this film as a sign of German progression into genre film. It wasn't ironic pastiche of Hollywood à la Godard, nor was it based on classic literature or had much relation to early New German Cinema stalwarts like Alexander Kluge.
The arrangements are predicated on block configurations; from the two-tone colour schemes, to the flat…