Participating in Cinemonster's Hooptober Se7en

#11/31 of My List

YO. I had to start taking notes because there was so much I loved in this.

Firstly, that TITLE SEQUENCE. YEAH man. 

Second, gosh I love the way William Hurt speaks. Fell in love with him in The Village but thought that the vernacular of the “period” they were set in was what dictated his annunciations. But no! He’s just... so different. And this was his first film?! Crazy. They couldn’t…

A masterful exercise in extreme minimalism. A test of patience paired with an immersion into nature's visceral evocations. There’s mystery and foreboding without narrative, which seems not quite possible. But as you watch, you’re constantly confronted with moments of impossibility. Barley somehow manages to blur the lines between a still image and a moving one. He blurs the lines between silence and sound, peace and paranoia, tranquility and anxiety, complete darkness and the presence of light. I do not know…

GOSH. So good. I mean, the plot alone had me eager to watch it but the execution was excellent AND it wasn’t quite what i expected. Sure, a femme fatale seeking justice for the rape and death of her best friend, but also much more mercy than I expected. And for me, that elevated it and separates it. It’s not ONLY about letting us feed off the justice/vengeance/vigilantism (though it's a bit of that too). It’s also so sad. So…

I don’t think I can write much after reading my truth in someone else’s words. Demi Adejuyigbe’s to be exact:

As someone who consistently conflates passion with purpose and finds myself often “living like i’m getting ready to live,” this thing sunk into my chest like a key.

I was concerned about the music. I am not a jazz head, but I do play a little and listen to enough to know what’s going on right now, what approaches could…