The largely mono mix is key to "The Zone of Interest": the single channel transforms sonic space into a matter of creeping proximity, rather than the enveloping surround mix found in something like "Son of Saul" (a fitting comparison, as the films are almost completely at odds with each other in form, but work to similar ends). Screams of torment, gunfire and the sounds of a deadly industry become a singular, writhing mass just beyond the confines of the "perfect"…
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TRON: Legacy 2010
At its most interesting in two modes: bordering on near-total abstraction, ribbons of light wrapping around each other in incomprehensible digi-voids, or curiously mingling between new and old material modes of technology (much of the film appears as though seen through the phosphors of a tube TV!); and the pure pleasures of Bridges in Venice Beach mode, saying stuff like “it’s bio-mechanical Jazz, man.” At least he’s having fun with it.
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Horace and Pete 2016
What stuns me most about Horace and Pete is how it employs right-wing rhetoric to mount a left-wing statement on the difficulty of living life in America -- a political conversation in a totally democratic space, Horace and Pete's bar, where something as slight as a reverse shot can have an astounding, even sublime effect on the trajectory of a scene. In the third episode, for example, confined to a static take on an unknown woman's face for the majority…
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