I remember seeing the Aladdin remake in theaters and thinking how awful that new song for Jasmine is. So blatantly laced with feminism that it feels the film is cramming its message down your throat. Not that I’m complaining about feminism, but I am complaining about having your message spelled out for the audience, just to be lectured. Narratives need to find clever ways to integrate their message into the nature and culture of the story for it to be actually…
“’The Cinema,’ said Andre Bazin, ‘substitutes for our gaze a world more in harmony with our desires.’ Contempt is a story of that world.”
One of the major problems when you have a young, rising director is gambling large sums of money to see if they will produce a great work of art; more accurately, a great work of art that’s a hit, financially speaking. Why is this a problem? Well, the director is just starting out, and the film…
I’m going to keep this short and sweet:
Akira Kurosawa’s Seven Samurai is not only a masterpiece about the tyranny of class identity, but the greatest example of time utilized in the history of film. It’s Kurosawa’s longest film, the runtime being at a staggering 207 mins, but every millisecond is not wasted. It’s one of those perfect films.
So with that said:
You go big.
Or you go home.
Jean-Luc Godard once said, “the cinema is Nicholas Ray.”
When it comes to 21st century filmmaking, I feel that “the cinema is Paul Thomas Anderson.”
Everyone has already dissected the hell out of Punch Drunk Love, but I may be the first to come out and say this is the first film by Paul Thomas Anderson that feels like a Paul Thomas Anderson film.