![]() I did fall asleep while watching this movie at one point because I wasn’t in the theatre but in my bed exhausted after a long day that said, I did a do-over to catch what I missed as it was never lack of interest – though there is deceptively lulling effect in the flatness of the scenes (and the drab colour palette with the exception of the flowers in the beloved garden when used in transition) despite what’s happening always in the background (constant gunfire, screams, clanging of the gas chamber etc). It plays with time in its final sequence in an interesting (and yet still mundane way via cleaning crew at work in the modern day Holocaust museum) and with visual symbolism (main character walking down into the darkness). The director’s choices shape our experience of this film in a ghastly way (and sometimes ghostly way, in the case of the girl who leaves food around for the starving prisoners seen only in night vision). Then, as the foregrounded characters’ world gets shaken up, the sound pierces through with such sharp clarity, we can piece together the horrific narratives which are now foregrounded if only sonically. It introduces itself with sound and then allows that sound to fade into the background, but not really, as the characters engage in the most mundane of domestic routines in which the trauma being inflicted is spoken of and enacted in the most casual of ways. The Holocaust as the kind of horror movie where everything is not seen but what’s heard is always disturbing also the Holocaust as a quiet domestic drama with horrors that lurk just out of view. Not seen: Anatomy of a Fall (Justine Triet), Oppenheimer (Christopher Nolan), Poor Things (Yorgos Lantimos) Killers of the Flower Moon (Martin Scorsese) Not seen: The Boy and The Heron, Robot DreamsĪcross the Spiderverse continues to innovate visually, holding to several comic book aesthetics, while delivering a solid and personal story even as the universe continues to open up. But I think to see it clearly industry folk would have to see themselves…and can’t have that. Unlike what that other Honest Oscar guy said, this movie has edge. ![]() Both entertaining and thought-provoking, with an ending that tickled me in its meta-ness, and racial nuance that didn’t hide the barbs. Story-wise and in execution, it was tight/efficient but with so much depth, in the subtle character work and believable story beats (the most unbelievable thing to me being the turnaround on the book he wrote to troll the industry). As a writer myself, it resonated with me (I too have fussed over where my books are placed in the bookstore). Not seen: The Holdovers, Barbie, Anatomy of a Fall, Past Lives, Oppenheimer, Poor ThingsĪmerican Fiction is the one of the four I’ve seen that had me itching to discuss and explore it after. I remember the exact moment Society broke my heart and I haven’t recovered yet. ![]() ![]() Not seen: The Teachers’ Lounge, Io Capitano, Perfect Days I’ve seen some more of the films since my “ To all those bemoaning the lack of Academy love for Barbie, I feel your pain” post in January so here’s my honest Oscar ballot.Įdited post-show: I was 4/18 and abstained from 5 results here. ![]()
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