a gorgeously textured mess of an experiment. by far coppolas most misunderstood movie and one which i hope gets reappraised as the years go on. not sure how much of this works really but to look at it as a passion project is truly fascinating and for that, im glad it exists.

i just found out that coppola lost his son in a speedboating accident and that he incorporated his life and trauma with the death of his boy into this film, he positions himself as val kilmer who loses his child in the film the same way. 25 years of grieving and still he had to put it into this film, his grief, his suffering and the state of consciousness where he can maybe deal with it after all this time. he'll always be gone and the scars never fade, your child being dead for longer than he was alive leaves an emotional wound that i can't possibly imagine dealing with. this is the closest he can get to catharsis, putting it into his art, trying to continue and process the pain with his films. the film was already so deeply profound and now it hits  harder than just about anything. 
rest in peace, gian-carlo, your memory will always live on

"Can't change time. Time changes you."

And also

"You gotta have a lot of story, none of that style bullshit."

Twixt, a power struggle on the road to timelessness. Kilmer's dreams are another step toward the past, his interests shift, evolve, progress, yet his search is a constant means of discovery with regard to things that have already happened - things he already knows - Kilmer, until now, has just refused to accept the facts. Time is merely a distortion of integrity, stop trying to outrun it and then honesty may be found. Coppola's greatest achievement.

"I don't have an ending."

Also:

"Keeping track of time around here is pointless."

And:

"Oh, be careful what you do..."

Finally:

"It was a town of those who wanted to be left alone. And so they were."

70

A half-remembered daydream.

Why

daylight’s fashionable glossy hyperreality is transformed into near-monochrome gothic fantasia at night. radical discontinuties of time, running too fast and too much and yet frozen by grief. Coppola exorcises the ghosts which narrative forms silence and brick over; the ground we stand on is revealed to be nothing but tombstones (Edgar Allan Poe stayed there once, didn’t you know?). abrasive juxtaposition (spatial, temporal, and tonal) tears at the insides of a tired genre exercise until it’s as bleeding and battered as the innocence it exploits, only to finally put a stake through its own still-beating heart. the most immolating horror film of the decade, convinced none of us have grappled with this nearly enough

“you are the ending you seek”

Francis Ford Coppola makes his Roger Corman Poe movie, a deeply personal tale about writing and regret. Messy but lovely.

a gorgeously textured mess of an experiment. by far coppolas most misunderstood movie and one which i hope gets reappraised as the years go on. not sure how much of this works really but to look at it as a passion project is truly fascinating and for that, im glad it exists.

I spent the entire movie being confused. I wish I liked this more than I do.

Why don't more people talk about this? Visually brilliant, consistently engaging. Out there tonally, no doubt, but the visual palate is so different that the tonal jumps never feel all that taxing.

Kind of blown away, to be honest.

watching this movie felt like playing deadly premonition and i'm not sure i enjoyed myself but i do like vampires and Coppola's visual and aesthetic sense is beyond reproach.

IMDb: 4.8
Letterboxd average: 2.5

Ne verujte kritikama, ovaj film kida!!
Kopola majstore!!!

death
of
beauty

Elle fanning deserves more vampire roles

youth without youth is undoubtedly my favourite of coppola's post-retirement formal experiments, but i probably think about twixt just as often—a digital ghost story in which the phantasmagoric gloss of modern imagery becomes the medium through which grief and artistic pains are superimposed and confronted. an oneiric open wound, haemorrhaging fear and guilt.

This was a mess. Also I can't believe this was made by the same person that made The godfather??? Anyways, Elle looks stunning in here and I loved her outfits so I will give it an extra star just for that.

Edit: Okay so I've been thinking about this and I do have to say that, even if in the technical aspects this is insurmountable, there a lot of interesting topics here that are approached in a way I've never seen before in film, like dreams, trauma and regrets all mixed up creating this weird sensation of a blurry messy dream, It's kinda refreshing but stills bad.

No

l'équivalent cinématographique de giotto traçant un cercle parfait à main levée

Val Kilmer? Coppola? No way. Gut dass ich HAF war 🤣