Jake and Mati are two outsiders in the northerly Portuguese city of Porto who once experienced a brief connection. A mystery remains about the moments they shared, and in searching through memories, they relive the depths of a night uninhibited by the consequences of time.
Gabe Klinger Rodrigo Areias Nicolas de la Mothe Sonia Buchman Todd Remis Julie Snyder Klaudia Śmieja-Rostworowska Beata Rzeźniczek
포르토, Порту, Porto 35mm, Πόρτο, Последние любовники, Порто, 波尔图, 情留波圖, პორტუ
Spain
San Sebastián Film Festival
Switzerland6
Zurich Film Festival
UK
BFI London Film Festival
Sweden
Stockholm International Film Festival
USA
South by Southwest Film Festival
Hungary
USANR
Netherlands16
Germany6
Greece
South Korea18
Ukraine
Brazil
Russia18+
Austria6
JapanR18+
Austria
Brazil
Germany
Greece
Hungary
Japan
Netherlands
Russia
South Korea
Spain
Sweden
Switzerland
UK
USA
Ukraine
Wow. I've been watching alot of really beautifully shot films recently. This one might just take the cake.
Gabe Klinger’s narrative feature debut is absolutely beautiful. Gorgeous 35, 16 and even Super 8 shot by Wyatt Garfield. Nonlinear story structure is bold and intriguing. Really impressive long one-takes with exceptional steadicam work.
Kino Lorber Blu-ray has Klinger's doc Double Play, commentary and short featurette.
Seriously (one of) the most
superb, sharp, albeit
(poles apart/paradoxically)
slight, splendid and
suitable swan song(s) supposable.
"I understand.
I understand,
completely."
I adore you, Anton Yelchin;
I will always savor your spirit.
Also love, love, love you Chantal.
"I just... want to keep touching you."
"Please... keep touching me."
"I'm not even trying to love you.
I just... love you. Do you believe me?"
Some of the most major &
essential media of our era;
("do you think this can't be lost?")
a full-on revelatory re-watch,
and I'd already quite loved it.
"But the thing is, you never
know if what you've lost is...
better than what you've gained."
"but the thing is, you never know if what you've lost is better than what you've gained."
"for anton."
failed challenges challenge // (2/171)
failed task - watch a romance film
[jake] why did it take you so long?
[mati] because i was sick.
[jake] what was...
[mati] i was crazy for a while.
[jake] tell me.
[mati] it's not so simple to say.
[jake] try.
[mati] it's when you know there is something you must do, and you also know, beyond any doubt, that it's impossible for you to do those things.
[jake] you feel trapped.
[mati] yeah, to put it mildly.
[jake] how did you escape?
[mati] i didn't exactly escape.
beautiful, disjointed fragments of a connection between…
"The pivotal sex scene is the most shamelessly cliched male fantasy put to glorious 35mm celluloid in recent years."
My full reviewfull review for The Seventh Row.
it was good but also not good, if that makes any sense
Hi everyone, there seems to be some confusion on the matter so let's clear it up. It's not critiquing male obsession if you suggest that a woman like casual relationships and no-strings sex is also in some way flawed and lost! Also I now have a one-stop shop to show why film fetishism has no inherent value.
Seeking another person no matter what might happen the following day. Sharp editing and two very committed lead performances (Yelchin body language is wonderful throughout). Despite being a two handler it has a strong feel to Portuguese nightlife and uses Porto’s topography around Douro river very well. And Porto is such a perceptive film.
I really liked the acting of this one, Anton Yelchin outdid himself, getting behind a character that is not as lovable as his previous ones. The story itself is something stuck in predictabilities of romance, getting too dramatic at times.
beautiful cinematography by garfield
a romantic cinematic goodbye to Anton
who will be in our hearts
forever
his whole life // my whole life
Quite ridiculously, lovingly subdued... Yelchin truly was incredible, and Klinger's directorial promise is entirely fulfilled.... almost every cut demonstrates the inefficacy of memory as an absolute/a constant, and so every shot finds external perspectives on internalized ideas. Not enough can be said about the ways in which time is made non-committal here, all that matters is the act of visualizing our own experiential biases. "There's still time," he says, but time has already evaporated, and what is film but a medium that captures the evaporation of time, the disintegration of experience by allowing an audience to misconceive it?
Every single scene was beautifully shot but the story was underwhelming, the non-linear structure worked but there was not much to offer and got uneven. The two leads were amazing, but mostly the lighting and gauge choices.
