What an initiation into Andrea Arnold’s filmic universe. I knew it was going to work for me as soon as Keoghan came gliding in on an electric scooter upon which he’d soon be gleefully yelling the lyrics to Too Real by Fontaines DC. Glorious.
British cinema is known to be gritty, harsh and bleak—which I love. But Arnold’s cinema blends in heart, warmth and hope, even when those things appear to be gravely scarce. Her ability to share a young…
This movie could’ve been a conversation at dinner. It could’ve gone to more places. It could’ve been grimmer. But much like Babygirl, I was teased with the promise of something darker and more risqué.
What we got was a film that the somewhat vanilla ‘moms’ can discuss at the playground. And that’s cool, but I craved a little more.
Amy Adams is amazing tho.
Wouldn’t that be the day!
Iconic. Perfect. Legendary. A masterpiece.
Much like Bella Baxter, I sat through this film doll-eyed and cogs turning while trying to puzzle together the madness of what sprawled in front me. It isn’t meant to feel complex, it’s actually pretty simple and not so mad. How a director can take such a straightforward narrative of girl to womanhood, while presenting it with such uncompromising imagination and visual artistry, all the while animating it full of so much life and heart, is a marvel.
If you’re…
short, not-sweet, very unnerving…in a good way
and omg original music by Alex G 🫶
I didn’t really have any expectations going into this screening at the LFF, but I was far from disappointed.
This film hit all the marks for me. It was always engaging, the casting was perfect (Shoutout Carey Mulligan) the writing was tight and the pacing never faltered.
But beyond this, it’s a film that treats the subject matter, and the real people affected, with the respect and compassion due. It never felt sensationalised for cheap shocks. A note to certain other filmmakers retelling stories of sexual misconduct…
Brendan Fraser hit me hard in this, and if there weren’t various aspects about this movie that made me cringe a little, it would be a solid solid film.
It’s a film written by a playwright and it shows. This may or may not bother everyone, but it did me. The delivery of some lines in emotionally charged scenes just did not translate well on screen. But alas, I still shed many a tear.
When your purposeless, womanising dad is also a movie star with the sexiest Ferrari ever.
No, but actually, wonderfully intricate performances, mesmerising cinematography and score…and as always, a beautifully spaced out, unhurried film from a fave director.
No one holds such a mirror up to the male gaze like Coppola. Without saying a word, she’s showing us with marked intention how a man like Marco (and perhaps many men) watch and perceive women. The subtlety with which Coppola says so much while saying practically nothing, will always astound me.
Another one for the sad, empty men in hotels list.