This considerably exceeded my expectations despite – or because – its proximity to some of the well-worn tropes of the 21st century music biopic genre (the meat and potatoes approach codified in no small part by Mangold’s own Walk The Line, and enjoying a resurgence in the age of legacy catalogue selloffs and estate approval). I say ‘because’, because whether intentionally or not, A Complete Unknown is at its most interesting when the elements that most resemble Walk The Line…
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Mulholland Drive 2001
THERE IS NO BAND. AND YET WE HEAR A BAND.
The most popular and well-supported theory of Mulholland Drive is that the first half is that the first half is a dream dreamt by the film's second half. We see the 'real' Diane and the 'real' Camilla, the latter's casual cruelty and the former's desperation designed to contrast against the apparent deceptions + self delusions of Betty and Rita's story. On some level, this is correct. In the version of…
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