Prison, as understood by the West, is inherently isolationist. Even a shorter sentence cuts prisoners off from the rest of the world for months at a time. Isolation is a unique cruelty, preventing people from engaging in basic social activities. Re-adjusting to the world outside prison--which can change substantially--isn't easy either. You might as well be living in space.
Movies presenting space as a prison or a vehicle through which characters experience a deep sense of isolation are far from…
I came to Almost Famous late, only watching it for the first time in January of this year. It’s proven to be a double-edged sword--on the one hand, I missed out on potentially years of rewatches and gushing over my love for what has become my favorite film. On the other, I don’t know if I would have loved it with the fervor I do now had I watched it in high school. Perhaps I would have appreciated the baseline,…
I tend to have a hard time writing about coming of age films. Considering how much I love the genre, that's a bit of a contradiction. And, to be honest, Almost Famous is no exception. But between Almost Famous, Lady Bird, Call me By Your Name, and rewatches of Edge of Seventeen and 20th Century Women, I've spent a lot of time thinking about the genre, and why it's difficult to write about.
Ultimately, I think it's because coming of…
Song to Song is not a film that's going to work for everyone - although you could say the same of all of Malick's work. Some of it hasn't worked for me *cough* Knight of Cups *cough.*
But the emotions captured by Song to Song hit me, and resonated. I literally missed the last train back to campus because I sat through the credits, letting the experience flow over me. It captures a beautiful sense of melancholy.
Really, Song to…
I'm still recuperating from this film - no, seriously. This one hit me where it hurts: deep inside my tormented psyche.
To an extent, I'm being facetious. But goddamn. GodDAMN. It's as if everyone involved in this film knew *exactly* what they need to do to evoke the most emotional, gut wrenching response possible from me. Y'know how Manchester by the Sea left some people just... incapable of functioning? Edge of Seventeen did that to me.
And I mean, yes,…
Considering the film is over fifteen years old now, I doubt I have anything revolutionary to add to the discourse surrounding Mulholland Drive. That being said, this film is extraordinary.
From the opening shot, the film feels off-kilter. The performances, the ways characters react to their surroundings, the shot composition - it all just feels... off. It establishes a unique sense of tension.
I've certainly watched films that felt more tense than this one. But the point here is not…
Amores Perros is a brutal dive into the lives of the abused, and their abusers. Who, in some ways, are abused just as much. The people that populate this movie consistently do terrible things - and yet, there is a constant reminder that they are people.
As the film goes on, and further context is revealed, decisions start to make more sense. This never justifies the actions taken by the characters, and that only makes the experience more heartbreaking.