cult classics devotee (amongst other things)
trust me, i was fidgeting in my seat like crazy just waiting for someone to say something from the heart. god how i was waiting for autumn to thank her friend just once, but she just didn’t. but by the time the diner scene has begun, the film already gave me two wonderful and cathartic moments: in the titular questionnaire scene and the hand holding scene, so i don’t get to be upset because i didn’t get to indulge in whatever…
i liked how it was pretty obvious that the bash ceo was a parody of bezos, elon, jobs, and a whole bunch of other greedy self-interested dudes rolled into on, and how timothée turned out to be the only earnestly religious person—it was so random. oh, and the way randall was an introverted scientist who slowly turned into leo dicaprio as the movie went on.
“i’m sorry for dropping your hand.” - ATW
“i’m sorry. thank you.” - M&M
all too well reminds me of malcom & marie—if malcom had apologized for not thanking marie and if he hadn’t dropped her hand, if if if.
it’s the “if only” factor, yes, and god if you’re a songwriter (& a movie director, but i genuinely don’t think i would’ve liked the film as much if it wasn’t for its lyrical context) who’s somehow capable of fitting all the…
what more can i possibly ask for other than a beautifully woven movie on the found family trope set in tōkyō—which feels even more gritty and real—and that encapsulates every feeling from aching like having your hair tied in a roundabout’s railing to bursting with warmth as though you ate the sun itself? god.
it was pretty easy to turn this film into a poverty-stricken tragedy. but hirokazu kore-eda refrained from doing it; the tone remains hopeful, fleshing out wonderful…