These are some pleasures this film provides, but more impressive is the fact that director Michael Showalter can produce a plausible, coherent, and respectable while tackling heavy topics such as loss, religious, and culture differences, and a blossoming love. It justly disapproves of the crude and vulgar humor other comedies adhere to, and also emphasize moments of intimacy that occur outside the bedroom. Viewers will be totally delighted witnessing this tragic-comedic-romantic film. Frantz is filmed mostly in black and white, with the occasional pangs of vibrant color when past, happy times occurred (such scenes call to mind those in Francois Truffaut’s 1962 film, Jules and Jim). Dealing with death, love and loss, Ozon relishes these moments with artistic care, heightening the emotion and not sinking into melodramatic territory.
A French officer stares into the eyes of a German officer and is transfixed and paralyzed with fear and maybe even love. When a film that has so much action to offer is remembered more for its subtle touches of humanity and intimate moments of romantic bliss (when snow is falling on a dilapidated village while the two leads share a kiss), that is when you know you’re experiencing something special.Ī simple gaze haunts Mr. It’s undeniable, especially with leads such as Gal Gadot and Chris Pine. What makes Wonder Woman so dazzling is the romance that is at the film’s core. desperately needed a hit and got it with this film. Not only are we witnessing grief being coped with, Lowery, stealthily, contemplates the enormity of existence, time, the futility of creation and the incessant torture a ghost must endure while watching helplessly as life zooms by. The film is less than 90 minutes and every last minute seems to have been plucked from director David Lowery’s dreams. What transpires is unmistakably grand and ambitious. One would never surmise such traits given the film’s sparse narrative: a man’s ghost comes back to his home to perceive his wife’s well being (she can’t see him) as she grieves his loss and eventually attempts to move on. Its potential is vast, inimitable, and eventually revelatory. The true horror is in the things we don’t ever see.Ī Ghost Story is a transcendent film. This utterly consistent feeling of dread is conveyed solely by atmosphere. It’s a state that this film revels in throughout its entire runtime.
What makes director Trey Edward Shultz’ film so marvelously stunning is its accurate depiction of terror. It’s a grueling depiction of man’s unwavering desires and the toll such desires have on his family and life. Gray immerses us in the South American jungles and has us feel the desire, anguish, and joy the film’s characters experience. In recent memory, none have done such an incredible job as James Gray’s film The Lost City of Z. Many films deal with man being consumed by an impregnable desire to conquer uncharted lands. Director Hirokazu Koreeda savors every moment of this film, focusing on minute details that go into the makeup of Shinoda’s yearning. The three are forced to stay together in Shinoda’s mother’s tiny apartment. An impending storm is threatening their city. Supposedly based on Arthur Miller’s Death of a Salesman, Farhadi’s version integrates his cultures’ mores and religious beliefs seamlessly, creating an emotionally shattering piece of cinema.ĭespite his past failed efforts, Shinoda (Hiroshi Abe) desires to attempt to win back the attention of his son and wife who left him due to his gambling, shady company, and lack of devotion. He has a penchant for simple tales that quickly unravel to rival something akin to the epic and transcendent narratives of Tolstoy and Chekov. There aren’t many directors in the world today better than Asghar Farhadi. Part ghost story, part yearning for a loved one, Assayas finds the perfect balance between the two to create a palpable work of art. Now, with Personal Shopper, they turn their attention to the metaphysical and what an impressive journey it is.
Their first, Clouds of Sils Maria, was a meditative analysis on the eerie similarities between theater and reality. This film is the second collaboration between French director Olivier Assayas and American actress Kristen Stewart.
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