Eve’s Bayou absolutely soars when it fully gives in to the gothic elements of its story; every scene with Debbi Morgan is a highlight, and I wish I could have seen more from her various relationships - with her clients, with her family, with her husbands. As the film goes on, however, it starts to stray a bit from its gothic highlights towards relatively more “conventional” coming-of-age aspects which, while still interesting, felt a bit less gripping. Like El Sur,…
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The Empire 2024
There’s a lot of potential in Dumont satirizing the binary morality of stuff like Dune or the Avengers, but pretty much none of it makes its way to the final cut of The Empire. At times it felt like the film’s sheer blandness was its one single comment, and that Dumont was having a blast dragging us through the self-aggrandizing posturing of Villeneuve without ever reaching the final confrontation it keeps building up to; at others, it felt like he…
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A Very Moral Night 1977
This charming film was my introduction to Károly Makk, and I was slowly conquered by its dreamlike parade of small character fragments. When the plot starts to develop, about halfway through, into a comedy of errors of sorts, the film finds two brilliantly subdued performances in Irén Psota and, above all, Margit Makay. The latter's interaction with Carla Romanelli regarding an old picture was a moment I found particularly touching.
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The Brutalist 2024
This review may contain spoilers. I can handle the truth.
A film of two halves, but not in the way I hoped it was going to be. The first part is wonderful, and I particularly enjoyed the way it played with scale: the film’s scope is epic, but on a scene-by-scene basis it is remarkably intimate, setting the ongoing motif of monumental constructions (the Institute, America itself) built around a core of beauty that’s either exalted or, more often, crushed by the process. This is done with wonderful contributions all…
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