berndgeiling
Joined Oct 2018
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The world of Power and Money, the world of Art and intellectual sensitivity. A history of exploitation and abuse, for which Brady Corbet finds an uncompromising metaphor in one of the films key scenes, it is one world raping the other. Swallow that: The American Dream has never been anything else but a nightmare for those who didn't belong to its profiteers.
Adrian Brody plays Laszlo Tóth, a european jewish architect, a genius of his art who managed to survive the Holocaust, having been separated from wife and family. As a refugee to the States he continues to struggle for personal freedom and expression. Fighting racism and antisemitism still continues. Confronted with a patronizing, condescending and ignorant capitalist society, his personal struggle continues to grow even more painful. Brody delivers an Oscarworthy performance here, he makes you feel the pain he's going through almost physically, with Guy Pearce playing his monster capitalist counterpart no less convincing.
Corbet doesn't leave a slightest doubt that his story mirrors not just the past, but the gritty reality of our own present.
Adrian Brody plays Laszlo Tóth, a european jewish architect, a genius of his art who managed to survive the Holocaust, having been separated from wife and family. As a refugee to the States he continues to struggle for personal freedom and expression. Fighting racism and antisemitism still continues. Confronted with a patronizing, condescending and ignorant capitalist society, his personal struggle continues to grow even more painful. Brody delivers an Oscarworthy performance here, he makes you feel the pain he's going through almost physically, with Guy Pearce playing his monster capitalist counterpart no less convincing.
Corbet doesn't leave a slightest doubt that his story mirrors not just the past, but the gritty reality of our own present.
Luca Guadagnino never stops surprising me. For me he is one of the most creative, unconventional and uncompromising contemporary european movie directors.
And once more he's immensely successful here in creating a kind of stream of consciousness of an older expat, somewhat stranded in Mexico, falling in love with an attractive but distant much younger man. Daniel Craig's courageous performance is nothing else than brilliant, a study in loneliness and drug addiction, yearning for a love, which he knows best himself, will never realize itself.
The core of desire might be that it can never be fulfilled. You loose it the moment you get what you were longing for.
I was totally fascinated by the hypnotic camera, the elegant artificiality of the set design, the magical realism and the drug and dream sequences of the movie. The unforgettable last frame of this film will haunt me for a long time.
It's definitely not for everybody, because it seems to be a very personal passion project, but people who don't like swimming with the mainstream will be very satisfied.
And once more he's immensely successful here in creating a kind of stream of consciousness of an older expat, somewhat stranded in Mexico, falling in love with an attractive but distant much younger man. Daniel Craig's courageous performance is nothing else than brilliant, a study in loneliness and drug addiction, yearning for a love, which he knows best himself, will never realize itself.
The core of desire might be that it can never be fulfilled. You loose it the moment you get what you were longing for.
I was totally fascinated by the hypnotic camera, the elegant artificiality of the set design, the magical realism and the drug and dream sequences of the movie. The unforgettable last frame of this film will haunt me for a long time.
It's definitely not for everybody, because it seems to be a very personal passion project, but people who don't like swimming with the mainstream will be very satisfied.
Robert Eggert's Nosferatu is no modern reinterpretation for our time, it's an almost too faithful hommage to it's predecessors, especially to the expressionist german silent film from 1922.
It is a visual feast, set design, lighting and camerawork are nothing else than brilliant.
The first act is overwhelming and very promising. Then it slowly falls apart and starts lacking tension, especially in the last act, which could have been much shorter.
Nosferatu is being shown late and you never see a lot of him, until the very final sequence, when you see Nosferatu in full sunlight. Mark: the fewer you see of him the better it is.
Less would have been more.
The acting cast delivers solid performances, but nothing extraordinary. Sometimes woody, sometimes overacting, sometimes ridiculous, I don't name anyone in particular.
Anyway: the main and most interesting aspect of Eggers remake lays in its style, and Eggers taste for style is unbeatable here.
It is a visual feast, set design, lighting and camerawork are nothing else than brilliant.
The first act is overwhelming and very promising. Then it slowly falls apart and starts lacking tension, especially in the last act, which could have been much shorter.
Nosferatu is being shown late and you never see a lot of him, until the very final sequence, when you see Nosferatu in full sunlight. Mark: the fewer you see of him the better it is.
Less would have been more.
The acting cast delivers solid performances, but nothing extraordinary. Sometimes woody, sometimes overacting, sometimes ridiculous, I don't name anyone in particular.
Anyway: the main and most interesting aspect of Eggers remake lays in its style, and Eggers taste for style is unbeatable here.