I watched Sister, My Sister. A wonderful, private atmosphere of madness is crafted… Joely Richardson and Jodhi May were fantastic.
However, it never takes advantage of the cinematic language it has access to, and just falls as a good adaptation of a superior play.
Nowhere lacks the maturity to make it truly special. Mysterious Skin, however, feels like the evolution of this sort of juvenile attempt on listlessness and unresolved suffering.
Double feature re-watch at my hotel since I am out of town for business. Unfortunately, one is vastly superior to the other.
I watched Nowhere first. That way, one can properly appreciate his growth as a director.
I watched Marie Antoinette today. A hollow, self-indulgent exercise in style. I can appreciate the set design. But the world does not “need” this film.
I watched Moment of Demon last afternoon. Very poignant drama. I found the place it chose to start quite unique in relation to films of similar subject matter.
For the sake of accuracy, it’s true I don’t evaluate people based on appearances at all, but their abilities. It’s important for every individual in a high ranking position, no matter the occupation, to do the same to overlook bias.
I enjoyed Funny Games (2007). It’s a movie so distinct in its identity, you either flip the switch along with it or you don’t. But it’s just false to call it a poorly crafted movie in any sense.
Alice’s Adventures in Wonderland (1903) and 1910 both have their charm, but I have to prefer the former due to its ingenious use of effects. It’s pedantic to say it, but it really does look better than most modern movies.
“I Married a Witch” is proof that true comedy doesn’t age. The film exists in its own diegetic reality, a stylized, modern fairy-tale world that the humor and pacing fully support. Veronica Lake is impossible not to look at, she bends the whole film around her.
I watched Playtime (1967). A disembodied world, seeming too precise to live in, one can only imagine how many takes were required for such detached, surgical yet whimsical “Where’s Waldo?” wholeness. Every car, reflection, and chair becomes part of the joke. Beautiful.
I appreciate Jarman’s work as a cautionary reminder of what society becomes when it has no one willing to hold the reins. How fortunate we are in Japan to have such a well funded Public Safety department to make sure no such things ever occur.
I found Jubilee to be quite interesting. For all its moral posturing, punk often reads as an attractive kind of foolishness. That said, calling it “stupid” is not a condemnation so much as observation: the film shows how rage without direction becomes entertainment.
I just finished watching Sirene (1968) with a colleague of mine. What an exquisite film! A perfect parity of melancholy. The setting, in particular, was absolutely stunning—a mechanical prehistoric inferno that bisects a beautiful mermaid. Every scene was a work of art.