Sort of like an artistic counterpoint to Leigh’s “Happy-Go-Lucky”.
And much like “Happy-Go-Lucky” - but as if Hawkins’ character and her driving instructor character were the central relational focus of that entire film and - further - as if Hawkins’ character was a side, peripheral study to the driving instructor’s main POV.
Less focused and uplifting and interesting, somehow, than most Leigh films. Yet and still- an extraordinary case study. Objectively courageous acting & filmmaking.
I don’t care how talented a writer and filmmaker Garland is- this film is &$/@*ng irresponsible and ridiculous, not to mention factually stupid (in what UNIVERSE would TEXAS and CALIFORNIA unify against or for ANYTHING!?) I don’t need to see or watch it to understand the undergirding zeitgeist it wants to platform, irrespective of the rave critical reviews from politically motivated HACKS who are itching for the collapse of America.
I used to conceptualize Garland as one of the most…
Francis, wtf? Lynch and Tarkovsky could pull off lyrical nonlinearity and sprawling narrative epilepsy with AT LEAST an emotional connection. This, however, puts making a statement and historical contextualization far above TELLING A SIMPLE @/&;$NG STORY.
Muddled, nonsensical, disjointed, annoying, pretentious ad nauseam. Nothing about these characters is explicated with any emotional relevance. Nothing these characters do resemble real or even mythical people, let alone an empirical Roman allegory of class and classes. Tries to be “I, Claudius” and “Magnolia”…
