A dying wish for empathizing with the unknown, Todd Haynes' Carol pushes us into the realm of a persecuted lesbian love blossoming under the covers of 1950s America, forcing us to divine rectitude when encompassed by utter hatred towards that which is yet to be understood.
With holiday spirit, Carol Aird (Cate Blanchett) offers her shopping assistant, Therese Belivet (Rooney Mara), to lunch, forming the beginnings of their hidden amorous relationship. Carol, mother of one, struggles with divorcing her physically abusive husband Harge (Kyle Chandler), while Therese's corroding relationship with her boyfriend (Jake Lacy) ends without much effort, quickly joining the two women together in a love borne in abandonment. Together, they discard their decaying pasts and commence a road trip westward, still only individually cognizant of their mutual love.
03 janvier 2016
02 janvier 2016
On Believing Falsehoods
In Thomas Vinterberg's Jagten (The Hunt), when testimonies conflict and instability is rampant, all crashes down upon the protagonist, Lucas (Mads Mikkelsen), who must seemingly impossibly prove his innocence to his tightly knit community while protecting his already damaged personal relationships.
Lucas, an ordinary kindergarten teacher in a small Danish town, is quickly blindsided by a false testimony rooted in the shady memory of his student Klara (Annika Wedderkopp), when she hints to his coworker Grethe (Susse Wold) at the potentiality of sexual assault. Trusting her contradictions to be products of denial, the kindergarten staff fires Lucas, and the entire town begins to reject Lucas as an unwelcome pedophile. His friendships, romance, and safety vanish.
Lucas, an ordinary kindergarten teacher in a small Danish town, is quickly blindsided by a false testimony rooted in the shady memory of his student Klara (Annika Wedderkopp), when she hints to his coworker Grethe (Susse Wold) at the potentiality of sexual assault. Trusting her contradictions to be products of denial, the kindergarten staff fires Lucas, and the entire town begins to reject Lucas as an unwelcome pedophile. His friendships, romance, and safety vanish.
A Look at Chef
Jon Favreau's Chef is ultimately a documentation of an unbroken trajectory: After a celebrity chef, Carl Casper (Favreau), realizes that his true passion is to cook under his own direction, forgetting the influence of a restaurant owner (Dustin Hoffman), a food critic (Oliver Platt), or even his thousands of online followers, he strives, with his two companions, his sous-chef (John Leguizamo) and his son (Emjay Anthony), to both revolutionize his own passion for food and better spread to his nationwide fanbase a love for what he considers to be the most beautiful—albeit perishable—artform.
While minimal complications arise, such as his perpetual failures to be an active father in his son's life damaging their relationship, or even a confusingly prolonged yet awkwardly humorous interaction with a local police officer (Russell Peters), these are typically brushed away faster than the buttering process for a single cubano. In a way, the film is majoritally the falling action of its initial setup: Carl, desolated and jobless, looks for both personal satisfaction and steady income. Thus, Chef, in all of its glory, is less a story of triumphing over conflict and more of following and ruminating in racing emotions, interpersonal changes, and physical movement.
While minimal complications arise, such as his perpetual failures to be an active father in his son's life damaging their relationship, or even a confusingly prolonged yet awkwardly humorous interaction with a local police officer (Russell Peters), these are typically brushed away faster than the buttering process for a single cubano. In a way, the film is majoritally the falling action of its initial setup: Carl, desolated and jobless, looks for both personal satisfaction and steady income. Thus, Chef, in all of its glory, is less a story of triumphing over conflict and more of following and ruminating in racing emotions, interpersonal changes, and physical movement.
01 janvier 2016
Life May Just Be a Cabaret
Bob Fosse's Cabaret takes us back to the final moments of the Weimar Republic in Germany, a time of conflicting ideologies and shifting cultural momentums, when any flame of novelty may instantaneously develop into an inferno.
Visiting Berlin, a British doctoral student, Brian Roberts (Michael York), finds lodging with Sally Bowles (Liza Minnelli), an American dancer at the Kit Kat Club, a local cabaret. Throughout the film, we see their own fits of sexual experimentation and growth with each other and others in the Kit Kat Club community.
Visiting Berlin, a British doctoral student, Brian Roberts (Michael York), finds lodging with Sally Bowles (Liza Minnelli), an American dancer at the Kit Kat Club, a local cabaret. Throughout the film, we see their own fits of sexual experimentation and growth with each other and others in the Kit Kat Club community.
Combustion and Connection
Lasse Hallström's What's Eating Gilbert Grape? is a story of freeing oneself from the shackles of the past while embracing meaningful interpersonal relationships borne from the present moment.
Gilbert Grape (Johnny Depp), the older brother-turned-patriarch of the family, years after the wake of his own father's suicide, mentors and cares for his younger brother, Arnie (Leonardo DiCaprio), who suffers from a developmental disability.
Yet, suffering from his own quandaries, Gilbert still fails to understand his own personal necessities, balancing his own relationship with a married mother of two, Betty (Mary Steenburgen), with that of a companion of only a few weeks, a traveler camping in the area, Becky (Juliette Lewis).
Gilbert Grape (Johnny Depp), the older brother-turned-patriarch of the family, years after the wake of his own father's suicide, mentors and cares for his younger brother, Arnie (Leonardo DiCaprio), who suffers from a developmental disability.
Yet, suffering from his own quandaries, Gilbert still fails to understand his own personal necessities, balancing his own relationship with a married mother of two, Betty (Mary Steenburgen), with that of a companion of only a few weeks, a traveler camping in the area, Becky (Juliette Lewis).
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