A dense experimental fever dream that repeatedly threatens to burst off the screen. Helena Howard is invigoratingly fearless. Sort of loses its way with a dramatic shift in POV in the last ten minutes, but nonetheless, one of the best of the year so far.
A shallow shell of a character, the Thelma at the center of THELMA doesn't know what's going on and neither do we. There's lots of tropes thrown at us: religious fervor (oh she's like a Salem Witch), frustrated lesbian who doesn't want to admit she's a lesbian, outsider teenage angst, mysterious dark family history, X Men style superhero who doesn't know she's a superhero... all just napkin sketches that, seemingly by design, never resolve into anything coherent.
Eili Harboe tries…
A lot of time and energy was spent carefully and thoroughly crafting a look, a mood, and an atmosphere of dread. Locked off widescreen compositions, drained of color, with lots of teenagers with pasty white (or gray) skin filling the frame. If only the same care was given to character development. I noticed several instances where someone would ask a question or make a statement only to be told never mind, or it's not important. This seems to justify leaving…
One of those rare documentaries that is so essential as a journalistic document, the craft of the filmmaking is almost besides the point. It must be seen if for no other reason than to dramatically illustrate how important whistle blowers are in an age when governments and corporations have less and less actual oversight. Snowden has succeeded and essentially triumphed in this regard, especially considering revelations the film provides regarding his apparent relative domestic bliss in Russia. Meanwhile tragic figures…