Quite different to McLaren's other work. I loved the human voices bookending the film and the scratchy, tangible textural animation that feels both right in tune with his other masterworks but also separate.
The music was great and the whole short was loaded with such great energy.
"What is this film you're making?"
"It's called La Callas: The Last Days."
"Well, in that case, roll camera."
I don't think it's quite Spencer but I did think this was stunning. Larraín is the master of these kinds of biopics. I knew practically nothing about Maria Callas going in and left feeling like I'd seen such a well-rounded portrait; the kind of image of a life you usually don't see in typical Wikipedia article biopics, which speaks wonders not…
Another fantastic short and, sadly, the last. Despite being the most straightforward one story-wise, this had an intensity and urgency to it that kept it engaging. That isn't to say it's simple, it's just as incredible, nuanced, and layered as the rest. Anderson's style and the terrific performances are wonderful, as always.
Snake or no snake, there was definitely still poison in that room.
"Didn't bite yet."
“We’re not talking about tennis.”
Every bit as thrilling as I was expecting it to be, and then some. Luca Guadagnino has such an acute control of this film's rhythm that every cut, every glance, every movement hits with the impact of an overhead smash. The bold visual style bounces from oblique angle to oblique angle, from intimate, sweaty close-ups to god's eye view, from underneath the tennis court to the players' POVs to the POV of a literal tennis…
