The way down to the good life is a cold and harrowing descent
Perhaps there's something wrong with me but I find monsters and the manifestations of fears in horror films intellectually compelling more than anything, but they have nothing on true existential dread when it comes to evoking fear. Often life itself can be a lot more unnerving than the worst nightmare.
I can't say I was thoroughly engaged throughout all the different chapters in this very long film…
Everything in life revolves entirely around two things: death and love. Not necessarily in that order.
Adulthood begins when the idea that one day you will die finally sets in. It defines everything we do. What we choose for our career, what sort of things do we pursue. What kind of legacy do we wish to leave behind and why we get out of bed to do the things that we don't necessarily want to do. Our time here is…
Saw this at the cinema and now I think maybe this Kubrick dude did fake the moon landing after all
When speaking about the film Kieslowski in his book Kieslowski on Kieslowski said that the film was about sensibility, presentiments, and irrational relationships. In other words, it's about the intangible emotions that our life is comprised of. It's hard to say whether these themes will come through for everyone, the film is very loosely plotted and quite messy in parts. It stalls and exists largely in an immaterial world that its emotions are drawn from, making it quite hard to…
Yes, it's an incredible visual spectacle brimming with creativity that is often lacking in these types of films. It's certainly quite fun and the blistering pace keeps the audience constantly engaged, hence it doesn't really surprise me that this film has been received so well. Perhaps if that's all there were to it, I would've loved it significantly more as well.
However, it seem that it wasn't meant to be as the quirky and obnoxiously american humor certainly wasn't my…
Compliments to Bresson for creating an approach to film so unique that seemingly all of the discourse surrounding this film must mention the fabled “minimalist approach”. So consider it mentioned because what seems to get lost in this conversation is that Bresson isn't necessarily motivated by minimalism but rather a sort of controlled realism. His sets aren't simply stripped back, they are deliberately decluttered to focus on what matters. He doesn't simply insist on shooting with a 50mm lens, he…
