So far, my three favorite scenes of the decade:
1. By the soccer field, a teary pleading and forgiveness (TWO DAYS, ONE NIGHT);
2. The jubilant, oblivious committee from the Moon comes and goes (PRINCESS KAGUYA);
3. *That* conversation between father and son (here).
It's extraordinary. Tears of absolute joy. The same kind of tears I shed for the three demoiselles of Rochefort finding their footing, a way of living, the ways of love. The rare kind: tears of joy,…
One of the most beautiful, beautiful, beautiful things I've seen. It echoes THE SON and other great films by the Dardennes, but it's so deeply distinctive. It keeps building terrific moments around cruising spots (part I) and melting pots (part IV) and big ideas: Materialism, Minimalism (part II -- what's the first thing he buys for his empty home? A clock. And he even has to build it, his own time); Names, Forgiveness, Trust (part III). The passage from carnal bond to filial bond, lust to family, is ravishing and quite perfect. Maybe/probably a masterpiece. Jean-Luc, Pierre, move over.
Oh, I love this. How come this is so good? It's my youth. I let my eyes wander, and my ears too, I give it my senses, and I get everything back soaked in magic. PDL seems to move around in the heart of its own private tempest, struggling against storms no one can see. It's frail and it's furious. Why would I find something new in a film I've seen around 25 times? I don't know, but it happened:…
Good God, a great thriller from Brazil. Where did that come from?! It never sets its foot in Rio's South Zone, and it feels richer because of that. The more I think of the Leandra Leal's fully realized, upfront character the more I like her, especially because we know nothing about her, except for her name, that she has a mom and a dad (at least archetypically speaking), and that she's in love. The mix of frailty and cruelty is…
