Annie Hall, Woody Allen: 3 / 4
I watched this twice in three days, although the second viewing was in preparation for an essay I wrote regarding Kierkegaardian themes in the film. This film centralizes around a compelling relationship between Alvy and Annie. Their relationship seemed to be a manifestation of Alvy's dream/fantasy relationship; at least it's what we'd expect someone like Alvy to fantasize about. Annie was someone fun-loving, semi-mainstream who'd listen to Alvy's wannabe-hipster-but-actually-solidly-left-establishment ramblings. Diane Keaton played Annie's character wonderfully, I'm not sure what more we could ask for. This film is also loaded with cultural references, which I found delightful. It's also heavy with absurdist/existential themes which is the Kierkegaard tie-in. Two of the scenes really stuck in my mind. The scene right at the beginning with Alvy and Annie in line for The Sorrow and the Pity was phenomenal. As Alvy loathed the man behind him, who was spewing oral magnificence I was elated. Even sophistry can be beautiful. My favorite scene was Christopher Walken's, the one where he slowly released a tide of insanity that was entirely relatable and perhaps entirely sane. One should watch this film, and detach from the atmosphere of it, if only for that scene.
The Seventh Seal, Ingmar Bergman: 2.5 / 4
This was an involuntary watch for a course, but one I may have stumbled across anyway. It was released in '57 so there were definitely things which I haven't quite come around on. (some serious Rashomon-style acting) But the thematic elements here are profound. It's crusades time, it's 'all the people buy into the Deuteronomic Equation completely' time. The idea of God in this film is powerful. The knight engages in a chess match with death, to find answers, to understand the idea. The people possess fear, fear of their eternal damnation, so the equation is upheld, and enforced by themselves. Be prepared for the darkness in this film, for it is all-encompassing.
Only God Forgives, Nicolas Winding Refn: 3 / 4
Following my first viewing, (this was my third) I immediately read the plot summary on wikipedia (fuck imdb btw) because I was sure I'd missed something.... I hadn't. This was style. The plot lacks, but with Refn's magical use of the camera and Cliff Martinez's score, there's barely a need for one. The slow-motion sequences, the lighting, the colors.... it's all outstanding. What's actually happening is secondary. Refn also engages in some aestheticized violence which requires a bit of a stomach. I love Gosling and he's a very similar character to Drive and The Place Beyond the Pines. [incoming spoiler] He's reserved and mysterious, but most importantly: he's got an Oedipal complex, and not in that Freudian subconscious way; it's outwardly visible. So if you're feeling Tarantino but stylistically superior and without dialogue, here you go, you'll thank me later.
Renoir, Gilles Bourdos: 3 / 4
An instinctual viewing, one I'd hoped would turn into a Lore-type. It was nothing of that sort, a modified biopic of Pierre-Auguste Renoir, the French Impressionist. There were three characters who seemed to be the lead at different points in the film: Pierre-Auguste, his model/actress Andrée Heuschling, and his son Jean Renoir. This film explores the relationship between these three characters as their situation becomes quite intriguing. However, upon seeing the end result, there is much left to be desired. Pierre-Auguste is an intriguing character, as is Andrée (to a degree), but Jean's character just didn't do it for me. Perhaps because this is based on a true story, they're limited, but the plot mostly failed. The film makes up for it stylistically, an atmosphere for transcendence is created, even if not utilized.
21 Grams, Alejandro González Iñárritu: 3.5 / 4
I've somehow gotten through them all, Babel, first, then Biutiful, Amores Perros and Birdman, and now 21 Grams. I consider this an achievement considering the depressive nature of Iñárritu's film. (not you Birdman! you uplifting ___________) Of the Death Trilogy + Biutiful (why not? it totally fits.) my favorite is this one, 21 Grams. Maybe it's the star power, the trifecta of brilliance from Penn, Watts and del Toro. Death is a central theme here, as each of the three is dealing with it from a different perspective; there is the guilty one, the grieving one, and the dying one. In classic Death trilogy and Crash (forgive me, once guilty pleasure) format there is the convergence, the intersection, and the reconciliation. The critical moment that shapes this film, the car accident, is filmed indirectly, reflecting Iñárritu's greatness. I was reminded of the techniques of Haneke in Funny Games. It's tough to pinpoint my reasons for loving this film, they're all macro, yields of the collective work. I'm looking forward to The Revenant, whether its style is similar to this or Birdman's it doesn't matter, I'll be thrilled either way.
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