Wednesday, 25 February 2015
Sunday, 22 February 2015
Okay, Oscar night. I want Julianne Moore to win, her performance in Still Alice is wrenching, and very intelligent. Also, Boyhood for everything else, Keaton over Eddie, talent over privilege. Huh, he's a good actor, seems a nice guy, but it's important that we hear the voices of struggle, did you see The Golden Dream, the acting was so pure, beautiful, tough, integral. It's time to destroy the bland, easy numbness of commercial celebration today, art is dissent and it is questioning, not accepting. I'm gonna be somewhere else, I think, after travelling, maybe on another website, named after a line my favourite actor and person said in a movie. I will see you then.
Tuesday, 14 October 2014
An unusual horror film by David Robert Mitchell, with the same eerie accuracy of The Myth of the American Sleepover, but with more shocks and frights. There are some wonderfully atmospheric shots and weirdly constructed scenes. The score is very uneasy, the pace quite static with an underlying tension. People in the audience, including myself, were jolted and jumping out of their seats in fear.
Sunday, 24 August 2014
Clouds of Sils Maria/ Maps to the Stars
Two films contemplating an actress taking on a role that will return her brutally to the past. They satirically portray the movie and theatre business as full of ruthless and pretentious sharks. Assayas more subtly, Cronenberg heightened to comedic absurdity. The acting from the women provides an emotional intensity, a focal point of alarm amongst the knowing self-reference.
Goodbye to Language
Godard's latest film is typically free-associative, blending philosophical critique, puzzling deadpan humour and a vibrant, celebratory visual imagination, chopped up and displayed, highlighted by 3D. Unconstrained by narrative cinema, disconnected from the often dry, academic concepts used in video art, his film is pure experience, utterly distinctive, you can take from it what you want, he will never answer, never resolve.
How to be both
Even if JLG bids adieu to words, Ali Smith is still lost in love with language. Breathless, nostalgic, charming, a little dotty with tantalising tangents, her novel spans two separate eras, existing together in bright introspection.
Thursday, 17 July 2014
A truthful, generous film with a gentle warmth. The family are naturalistic, flawed, funny and thoughtful. Breezing through time and memory while confronting how difficult life can be. Some scenes drift often in and out of my mind here and there, it could have been only a clever construct but Linklater and his cast have touched upon a magical flow.