Favorites are recent watches that are on my mind.
One minute you’re watching Cries and Whispers, the other you’re flailing around trying to write something, you make a weird sexy quack sound and there’s a sudden awkward cut. This movie is so loose, so not afraid to be silly and so easy to fall in love with.
Completely enraptured by the movie-within-a-movie/ alter-ego-of-an-alter-ego bit. So light of touch, it’s like stepping inside someone’s fantasy world, and it connects so beautifully and playfully to the primary narrative. Love it.
This review may contain spoilers. I can handle the truth.
The fact that the premise induces feelings of skepticism and resistance from us is actually perfect, because the film grabs the chance to then break them down and dissolve them to pieces in the best way.
This is also just an incredible work from Julia Ducournau, who is steadfast in control of the images she’s constructing, of the flow of this ride she’s taking you on, where you keep squirmishing in your sit and wanting to look away, but are…
I got out of the theatre after seeing this and honestly I felt shaken and like I really needed a minute to get it together before going back to functioning in the real world. First thing I did was immediately google more about the DAU project, the unbelievable and ambitious world building project this film is derived from. I had a vague knowledge of what this was about, but I did not expect the film to evolve so dryly and…
- with the absolute best cat scene ever;
- where people talk all the time, but it’s really about the things they don’t say;
- that ends with Kim Min-hee seeing a film while thinking her thoughts, as we see the same film she’s seeing, thinking our own thoughts as well.
And that’s the end of the Berlinale for me.