This movie is absolute trash (I have zero interest in discussing this, I know all the arguments already and trust me there's absolutely no good reason to get into this with me, let it be).
That said: this is an Austin movie shot almost entirely in locations that were built up after I left in 2004, so it's weird to watch - a hometown dispatch I largely don't recognize. But there is one exception. There's literally like two shots in…
"Menashe is frustrating because it takes hard-earned access, retains documentary virtues, and then dilutes it all via a screenplay that hits every beat exactly where you’d expect. (If a character who’s seemingly about to redeem himself and has had things going well for like eight minutes places some kugel in the oven and then leaves the house while forgetting about it, what exactly do you think is going to happen next?)"
"Hittman and DP Hélène Louvart revisit Love‘s methods, and yet — despite the reams of exquisitely shot, up-close-and-Denis-esque-personal close-ups of hands on arms and other body parts in isolation, subjective snapshots of sexual fixation — I never got the sense of queer desire rendered viscerally. What would I know about this? Not much, but thinking about this comparatively discreet work relative to Alain Guiraudie’s Stranger by the Lake (another film about cruising locales near bodies of water with sinister overtones),…