Synopsis
An artist whose work involves capturing images of strangers begins to believe she herself is being observed.
2017 Directed by Camille Thoman
An artist whose work involves capturing images of strangers begins to believe she herself is being observed.
Zachary Quinto Alan Pao Subi Liang Bronwyn Cornelius Neal Dodson Corey Moosa Alex Tong Erika Hampson Julian Cautherley Radium Cheung Camille Thoman Luke Daniels Brandon K. Hogan Alvin Chau Greg Ainsworth Elizabeth Yng-Wong Dan Milne Ho-Cheung Pang Wenke Sterns
Here, You Were Never Here
It's tough to be this dismissive about a film so audacious and strange, but while I admire the effort, it mostly lost my interest once I could track the trajectory. Certainly owes a great deal to Lynch, and offers plenty thematically and narratively to piece together afterwards, but the intentional ambiguity becomes grating. I readily admit I didn't really understand it, but it still wouldn't make a difference if I did.
Just a quick announcement that for some reason my Twitter account has unexpectedly and for no valid reason been suspended. So until Twitter gets their slow as molasses act together to respond by email, stay classy fam. I'll miss you, and hopefully be back shortly. On the plus side, no Midsommar spoilers for me.
Never Here is yet another entry into the Under 5 mutuals logged: First Come, First Serve (and a shocking 45 reviews total on LB)
There is no doubt that Never Here owes almost everything to David Lynch, but it lacks in any definitive direction or resolution. It might be the most confusing film I've seen this year, because the film never sticks to any path even when deliberately…
I was originally drawn to this because I’m obsessed with the work of Mireille Enos, she’s such an exquisite actress and I think she’s incomparable to any other actress working today, she’s a one of a kind.
The movie plays out like a David Lynch nightmare, it’s the kind of movie that I think requires more than 1 viewing to fully understand what it’s saying and what it’s all about, I highly doubt people would watch it more than once though as it’s the definition of slow burn. Mireille as always bewitches the audience with her subtle, realistic acting and her velvet voice, she really is just so great, I wish she did more movies. The camera work is quite interesting,…
This movie is one of those movie where a lot of things are extremely well done, but there’s a couple things holding it back. The acting, writing and cinematography are extremely well done especially the cinematography, which shows off some really beautiful and intense shots! What does hold this movie back unfortunately is the last act, I feel like it’s nowhere near as strong as the other two acts in this movie. Not as intense, captivating or anything else it’s not flat out bad but seriously disappointing seeing how great the other two acts were. Overall Never Here is still a really great watch that I do recommend giving a go.
7.9/10 B
Excellent camera and editing, one of the years best. Camille Thoman is a major new talent, similar to Sean Ellis.
The story is also captivating and classic, just the ending not so.
A Lynchian voyeuristic self aware thriller with a great performance from Ms Enos.
RIP Sam Shepard.
A De Palma movie through the eyes of Lynch. This is the perfect recipe for a movie that I would love and for some reason I didn’t. There are striking moments that work phenomenally. It’s a shame that none of these moments worked as a whole.
Because Mireille Enos felt that "The Killing" could feel a little bit more like "Twin Peaks". I for one could use another dose of "The Killing" to wash the bitter taste of "The Return" out of my mouth, so maybe this title should actually be "Here". Looking at Enos' career at this point, and at how eager her character is to hop onto an assault investigation, she may very well be reprising Sarah Linden. Still, the lead's possible secret identity is not one of the many mysteries to worry about at the moment, as we're looking at a criminal investigation so tricky that its star witness didn't actually witness anything. She's actually lying about being a witness on behalf of…
It’s good, but it does drag in parts. It will be interesting to see how the director goes from this debut. Also, the musical piece at the beginning and end of the film is very much in the vein of the theme from The Conversation.
Strange. Started out very strong, and it continued to stay strong all throughout, but it's definitely a 2 hour thriller/horror of slow burn suspense. Like...SLOW burn to the utmost degree. I wound up losing focus about 3/4 into the movie, but that's probably more my fault than the movie's. Artistic and gorgeous while posing the question of where's the line between art and voyeurism?
Mireille Enos proves once again that if she's in something, that's reason enough to see/watch it.
What if you over-thought your script? You want to tie in the theme of voyeurism in making the protagonist an artist. You do research, but you can't avoid the cliches. Because movies are often about those cliches. So the main character intrudes on other people's lives, and so does the villain. Object lesson!
A De Palma movie through the eyes of Lynch. This is the perfect recipe for a movie that I would love and for some reason I didn’t. There are striking moments that work phenomenally. It’s a shame that none of these moments worked as a whole.
Miranda Fall is a pretty shitty artist. It's bad enough we have crap like Facebook invading our privacy in a broad scale, but to straight up focus on stealing one man's phone contents to make her bullshit art show, is pretty fucking low. It appears she's unable to come up with ideas on her own, instead mining others in order to find inspiration. She didn't even witness the violent assault but she's more than eager to pretend she did, listening to Paul's testimony over and over until she feels they're her thoughts. From there she goes on a wholesale paranoid projection of what she thinks is the truth leading to what I guess is a complete breakdown.
The look, colors,…
Just a quick announcement that for some reason my Twitter account has unexpectedly and for no valid reason been suspended. So until Twitter gets their slow as molasses act together to respond by email, stay classy fam. I'll miss you, and hopefully be back shortly. On the plus side, no Midsommar spoilers for me.
Never Here is yet another entry into the Under 5 mutuals logged: First Come, First Serve (and a shocking 45 reviews total on LB)
There is no doubt that Never Here owes almost everything to David Lynch, but it lacks in any definitive direction or resolution. It might be the most confusing film I've seen this year, because the film never sticks to any path even when deliberately…
It's tough to be this dismissive about a film so audacious and strange, but while I admire the effort, it mostly lost my interest once I could track the trajectory. Certainly owes a great deal to Lynch, and offers plenty thematically and narratively to piece together afterwards, but the intentional ambiguity becomes grating. I readily admit I didn't really understand it, but it still wouldn't make a difference if I did.
It was good, but such a slooooww buuuurrrnnn, even after you pretty much figure it out.
Not the worst meditation on “watching” I’ve ever seen, but while it aims for arty and ambiguous, it comes across as muddy. The blurring of lines between art and reality only works if you have at least one clearly delineated character or maybe even some thing to focus on.
In his last screen role, Sam Shepard plays an art dealer whose affair with a young conceptual artist leads to disquieting questions of identity.
Full review:
www.theguardian.com/film/2018/sep/20/never-here-review-sam-shepard-camille-thoman
New David Lynch is born!
Never Here is psychological movie. It messes with your head. Keeps you guessing, what is real and what is not. Has similarities with David Lynch' movies. If you like Lynch, you may check this one.
I can't say that I totally enjoyed Never Here. But there was something... Lynch' movies had similar effect.
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