Obviously I've had Lynch on the brain a lot these past couple weeks, and in its depiction of unspeakable family trauma tearing open a breach between our world and the supernatural, I think this would make a great, exhausting double bill with Fire Walk With Me. It also shares with Lynch an affinity for questions over answers: despite the neat bow that the ending ties on the central mystery of who the ghost is, some of the more interesting issues…
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La Notte 1961
La Notte is possibly my favorite of Antonioni’s loosely-structured Monica Vitti trilogy. Applying the stylistic innovations of L’Avventura to the story of a decaying marriage over the course of one afternoon and evening, it’s here that Antonioni’s new film language seems most efficient and formally rigorous in its expression. The characters are constantly framed against one another, separated from each other by sharp lines at the borders of walls and the towering industrial skyscrapers of Milan.
But there’s something else…
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Poor Things 2023
I can’t help but compare this favorably to Beau is Afraid (lovable freak auteur on a winning streak swings for the fences with a visually inventive bizarro epic comedy), but unlike Aster, Lanthimos absolutely nails it. The man simply cannot miss
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