An “art film” in the sense that every shot provides a new occasion for experimentation but with a stronger sense of connection between story and plot. Other WKW films, particularly…
The film achieves something unusual and delightfully nuanced: a kind of secondary identification that subverts the typical male POV by rendering it merely a proxy of women (or in this case,…
An aesthetic of stylized trash set in a dystopic, post-apocalyptic France overwhelmed with a warm red-orange-green color scheme. Terry Gilliam meets Time Burton, and then some. It’s a live-action cartoon,…
Highly intertextual, referencing All About Eve, A Streetcar Named Desire, and Almodóvar’s own work, not to mention the form of the soap opera. Early shot in the kitchen highly reminiscent of Jeanne…
“Time is out of joint,” the opening states, while bombing graveyards in black and white. After this abstract, violent prologue, a remarkable crane/dolly shot takes us from outside a chateau…
The opening long, slow zoom onto the exterior of a house, tilted toward an upper floor, tellingly suggests what at least will be the style of the film to come,…
The nearly incessant radio static provides a sonic point of reference for the ongoing, inane search that is (or appears to be) the film’s narrative. As if to warn Western audiences…
Called by Joe Kickasola, “Kieslowski’s great formal experiment,” this one features consistent shots of abstraction both at the levels of both form and content. The tilted and upside-down shots formally…
The Hunger Games (dir. Gary Ross, 2012) – Should probably keep these thoughts to myself, but this movie disturbed me terribly. Say what you will about reality television being the new…
