In narrowing the focus of a broad issue to a local football field, Guillard strips back a complex issue, showcasing the ways in which people can be united and find belonging through sport.
Browsing: film
Gondry delves into the anatomy of the creative mind, from the highs of an inspiration “flow” to the depths of rejection and inadequacy.
Marguerite’s Theorem has clear ambitions: it wants to be a feminist film about a strong, brilliant young woman who pursues her dreams and changes the world. However, it feels more like a film about a miserable egomaniac, whose obsessive and irreverent view of the world blinds her to the goodness in other people.
Directed by Rose Glass, Love Lies Bleeding, despite its crime thriller labelling and the copious amounts of violence, is at its core a love story.
The exquisite Japanese scenery is viewed through a conspicuously French lens: a longing for what was strange and unfamiliar, beautiful and haunting.
The scepticism aura-ing each character suffuses, never suffocates. Freud’s Last Session, while a grave title, has a feather touch. If this movie marks a revitalisation of Freud as person rather than Freud as stereotype, perhaps it is appropriate that his unearthing requires a little tenderness.
Scott is seamless in his transitions, giving brilliantly controlled, and physically considered, performances.
YOU’LL NEVER FIND ME is an engrossing, nauseatingly intentional masterpiece of Australian horror that eschews the paranormal in favour of earthly terrors; a film so efficient in its purpose that I would gladly never watch it again.
Like myself, nearly every woman in the cinema had experienced this, or knew somebody who had shared similar experiences.
Is there a correct way to depict evil on screen? Is the omission of violence just as impactful as visibility?
