Despite the somehow hammer-over-the-head metaphor of hue and saturation being reappropriated and revisited time and time again, Tom Ford not only did Christopher Isherwood's novel justice but arguably improved upon it. And Ford's laser focus on aesthetics shines best in this film, from Lanvin's Arpegé to glossy mahogany dashboards, to accurate eroticisation and longing of men here and gone.
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Anora 2024
This review may contain spoilers. I can handle the truth.
What’s perhaps the most painful or frustrating aspect of this film is that Anora is as immature as Ivan. Yes, he’s a petulant, selfish child, offering Anora a glimpse of a life of luxury and new beginnings, only to steal it all away upon the slightest confrontation. But equally Anora, in her romantic naïveté, believing his offer to be sincere was her downfall. Whether she truly loved him is an irrelevant question: the concept of new beginnings, a life without…
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Call Me by Your Name 2017
Everything is shimmering and perfect. The two hide in dark alleyways and quiet bedrooms, but there is little shown of why. It’s a forbidden romance, though the movie doesn’t dare show how. Their bonding is described to us as budding and whimsical, but we are only shown a superficial sheen of infatuation: a glance across the dinner table, an innocuous touch here and there—is this supposed to be love? Because, despite how much this movie wants me to believe it feels so, it doesn’t. It feels like a naive, lustrous flight of imagination, an objectification that dissipates as fast as it arrives.
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