Uppena
This may be something close to a prototype of what I
like in Telugu cinema. It has the romance, some comedic energy (maybe
lacking there), the violent force threatening, and an overall respect
for the cinema as a place made for the viewer. I fits in piece with all
the Telugu movies I saw in this period--where the spring stretched to
summer. A year later (or so) it feels like a significant period a
lifetime or two ago.
Murina
At the beginning of my movie
period, I
frequently watched a lot of these woman-led indie and foreign movies on
Netflix. I'm glad I'm experiencing this welcoming feeling again. This
goes especially well with the director's earlier short led by the same
girl. It starts inside pleasant summer feelings and expands as the
season continues and concludes.
Drive My Car
The way
Hamaguchi describes cinema tends toward the thesis I would adopt if
forced to construct some ideological basis. This long-flowing opus built
from suspect source material is further confirmation of his abilities
as an entertainer.
House of Gucci
Only
just a gray and dreamy romance in a different period--everything adopts the 80s and 90s
now. The narrative is honorably abrasive, as indicated in the variance
of its reception.
The subject and plot calmly flow downstream, collecting onlookers and
their sensitivities, until a final discharge rebirths reality for all
who endured--in or out of the know.
Rang De
A zombie Dubai shines bright and streaming; this is our home--this city of modern angles, desires, non-desires, and toxic romance. Nithin sticks his head into every place he finds, always tailed right behind by Keerthy's schemes and initiations. This is more boilerplate than the other Telugu film I mentioned. A little entrepreneurial study lab on the side; a hustled lifetime of wealth in Dubai. Stunning and wonderful material in every way. I love the way this industry seems to just unleash capital into the movie industry to create the broadest art possible; don't lose yourself, it's just a job...
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