Mickey 17 preparation. Looking forward to seeing that one in theaters once my flu subsides.
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Parthenope 2024
Sorrentino needs to hire a screenwriter because prioritizing gorgeous visuals over thin characters and scattered storytelling isn't going to cut it anymore. Part of me wishes this were a full-blown comedy because that's one of his underrated strengths as a filmmaker, and the movie doesn't do anything with the tragic elements of the story (ex. that one character's suicide).
The performances are definitely the highlight; Celeste Dalla Porta has a radiant, unforced, movie star presence, and Oldman's charismatic, wryly funny take on Cheever is one of his best performances in years. Loved the professor and the older Parthenope too.
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Maria 2024
Appropriately, the final film of Larraín's trilogy is its most mournful. All of the action occurs in the last few days of Callas' life, with flashbacks of her youth, the peak of her professional career, and her romantic pursuits scattered throughout. Lachman's camera bathes every image in autumnal oranges and maroons. Though the circumstances of her life could be very miserable, Callas herself never comes across as a miserable figure, thanks to Larraín's clear respect for her as a subject…
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The Piano Lesson 2024
Definitely different from what I was expecting, given the recent film adaptations of Fences and Ma Rainey. Hallucinatory moments which depict the piano's history over the years, as well as ghosts of the characters' pasts, are suitably eerie and pay off with a stunning climactic sequence, an exorcism of the Charles family's house. These horror-esque moments are sometimes at odds with the numerous dialogue-heavy sequences, but I appreciate what Malcolm Washington attempts here.
Like the previous August Wilson adaptations, great…
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