I fell asleep while watching ToL and still loved it.
But yeah, it comes down to either people's capacity for abstraction or acclimation to the respective medium of course... and a vet film critic can dislike ToL for separate reasons from a casual filmgoer too, lest we forget.
But in the end yeah a general audience is not looking for films that seem purposelessly weird lol.
Of course I'm looking forward to Mother because Arronofsky's my style. Just like Neon Demon was for me with Refn etc. Divisive movies by directors you know you enjoy are some of the most fun indeed, all edginess aside.
Wind River
My review that I posted on a different thread
Times when you take gafs advice and leave in disappointment. I give it a 6/10 it had some really bad acting like lol territory. Overall it felt like it was trying too hard to cross out a list of what you expected for this type of movie and gave you just that.
Thank god for movie pass, this movie felt like what you would watch on some channel to kill time and it would be alright. Felt really forgettable.
Baby Driver
Pretty slick. Totally ridiculous and it rolls with it. Girl reminded me of Shelly in Twin Peaks, so gorgeous and those shots of her legs with that skirt. BRRRR 8/10
Voyage of Time
At first maybe some leftover footage from Tree of Life. Then some crazy lava shit. Here's a landscape, here's a landscape. Here's a landscape. Melancholy music, whispered philosophy sprinkled on top via Cate Blanche. Here's a landscape, here's some SD footage of abhorrent animal cruelty. Here's a crab army. Here's a landscape. CGI dinosaurs. Light under trees. 8/10
Wind River
My review that I posted on a different thread
Times when you take gafs advice and leave in disappointment. I give it a 6/10 it had some really bad acting like lol territory. Overall it felt like it was trying too hard to cross out a list of what you expected for this type of movie and gave you just that.
Thank god for movie pass, this movie felt like what you would watch on some channel to kill time and it would be alright. Felt really forgettable.
Agreed, It felt like it was going to be something special at the beginning maybe with the interesting soundtrack but as it goes on that seems to go away. Pretty standard film considering the hype that surrounds it.
Agreed, It felt like it was going to be something special at the beginning maybe with the interesting soundtrack but as it goes on that seems to go away. Pretty standard film considering the hype that surrounds it.
I felt the execution was subpar. Sure it has a harsh landscape we don't see that often which was quite interesting and an otherworldly soundtrack by Cave and Ellis but its the almost stale characters and dialogue which work against those things. Each turn of events in the film feel like they've been ham-fisted in there making for something almost forgettable.
Meanwhile, here is my much delayed TIFF Report #3
(preorder TIFF Report #4 now and you can start reading it three days early)
Please, God, take these thoughts away from me.
Thelma (dir. Joachim Trier) - 7/10
It's not as good as Oslo, August 31st, which I expected, but it's not even as good as Louder Than Bombs, which is a little surprising. Back to his home country, and flirting with the supernatural genre, and this is all a filmmaker as sharp and stylish as Trier can muster? Hmm.
It's good, don't get me wrong. Trier's humanism is on full display, and the central budding relationship between the two main characters is wonderful, directed and acted with all the heartbreaking empathy one could ever want. There was one scene that had the woman sitting next to me visibly crying, and it's a powerful sequence, to be sure. There are moments of real beauty here. I enjoyed the film overall.
But, there's a but. It's pretty clear that Trier's focus here started out with a supernatural revenge thriller (to do something completely new, as he said), but eventually the focus moved away from that, to the point that the supernatural elements probably shouldn't even be here at all. As a lesbian coming out drama, Thelma is potent. My heart aches for these characters. As a genre film, it's goofy as all get out. The few elements that exist are so loosely connected that they clash with the main plot more than anything, and undercut the tone in a really unfortunate way (some low budget effects have the same effect). There's only one sequence where these disparate elements actually gel, and the metaphor is killer, and I was on the edge of my seat, sweating and trembling. It really drives home the conflict in Thelma, the repression of her feelings and the desire for her friend. It's amazing. I'm imagining a whole movie like that, and it coulda been Trier's masterpiece. Instead, it ends with
death by spontaneous combustion
. It's a neat sequence, actually, but I'm not sure these things even belong in the same movie.
You'll always have a place here.
Dark River (dir. Clio Barnard) - 5.5/10
Starts strong, setting up some nice atmosphere and delivering some genuinely upsetting emotions with the way the past and present blend fluidly. Alas, it does not end strong. The film handles the central trauma well at first but the flashbacks eventually become a crutch, and the film never really builds off of them. Instead, the third act tries for some capital-D "drama" by throwing in a
random, pointless murder, to say nothing of the "attempted murder" scenes between the siblings earlier
. This is a film that has everything going for it, and then stumbles its way through clichés to find the exit. A major disappointment. Clio is still 2 for 3, though, so I'm not worried yet.
The highlight of my screening was accidentally stumbling into the entourage of... wait for it... motherfucking Wim Wenders, and being mistaken for an industry insider. I explained the confusion, but nonetheless, there I was, sitting and watching the movie with Wim Wenders. The image of Wenders slouched in his seat, with an almond fudge popsicle resting on his chest, demanding to know where his popcorn is, while his (agent? PR handler?) keeps asking if he wants anything else, to which he keeps replying, no, I just want my ice cream and popcorn, is something I am going to cherish forever.
No really dude, these Hollywood things aren't all that good, pls.
The movies was fairly fun all in all, the main kid actress was very good, the ALF was funny, Gyllenhaal was unbelievably shitty, and as i said in the past, i can't stand these Tilda Swinton cartoons (though i like her in serious roles).
You can argue The Host was also colorful and all, but it felt like a fucking documentary in comparison.
I would also say that while liking Snowpiercer the first time around, with a rewatch (some time ago) i actually didn't really like it at all, so i don't think a rewatch of this would improve my opinion.
It's not as good as Oslo, August 31st, which I expected, but it's not even as good as Louder Than Bombs, which is a little surprising. Back to his home country, and flirting with the supernatural genre, and this is all a filmmaker as sharp and stylish as Trier can muster? Hmm.
The highlight of my screening was accidentally stumbling into the entourage of... wait for it... motherfucking Wim Wenders, and being mistaken for an industry insider. I explained the confusion, but nonetheless, there I was, sitting and watching the movie with Wim Wenders. The image of Wenders slouched in his seat, with an almond fudge popsicle resting on his chest, demanding to know where his popcorn is, while his (agent? PR handler?) keeps asking if he wants anything else, to which he keeps replying, no, I just want my ice cream and popcorn, is something I am going to cherish forever.
That's exactly why I was so damn intrigued by the idea when he was in the running. Although in The Fountain he did a great job making certain moments/scenes feel truly epic. I could have seen that translate over to Superman.
Meanwhile, here is my much delayed TIFF Report #3
(preorder TIFF Report #4 now and you can start reading it three days early)
Please, God, take these thoughts away from me.
Thelma (dir. Joachim Trier) - 7/10
It's not as good as Oslo, August 31st, which I expected, but it's not even as good as Louder Than Bombs, which is a little surprising. Back to his home country, and flirting with the supernatural genre, and this is all a filmmaker as sharp and stylish as Trier can muster? Hmm.
It's good, don't get me wrong. Trier's humanism is on full display, and the central budding relationship between the two main characters is wonderful, directed and acted with all the heartbreaking empathy one could ever want. There was one scene that had the woman sitting next to me visibly crying, and it's a powerful sequence, to be sure. There are moments of real beauty here. I enjoyed the film overall.
But, there's a but. It's pretty clear that Trier's focus here started out with a supernatural revenge thriller (to do something completely new, as he said), but eventually the focus moved away from that, to the point that the supernatural elements probably shouldn't even be here at all. As a lesbian coming out drama, Thelma is potent. My heart aches for these characters. As a genre film, it's goofy as all get out. The few elements that exist are so loosely connected that they clash with the main plot more than anything, and undercut the tone in a really unfortunate way (some low budget effects have the same effect). There's only one sequence where these disparate elements actually gel, and the metaphor is killer, and I was on the edge of my seat, sweating and trembling. It really drives home the conflict in Thelma, the repression of her feelings and the desire for her friend. It's amazing. I'm imagining a whole movie like that, and it coulda been Trier's masterpiece. Instead, it ends with
death by spontaneous combustion
. It's a neat sequence, actually, but I'm not sure these things even belong in the same movie.
You'll always have a place here.
Dark River (dir. Clio Barnard) - 5.5/10
Starts strong, setting up some nice atmosphere and delivering some genuinely upsetting emotions with the way the past and present blend fluidly. Alas, it does not end strong. The film handles the central trauma well at first but the flashbacks eventually become a crutch, and the film never really builds off of them. Instead, the third act tries for some capital-D "drama" by throwing in a
random, pointless murder, to say nothing of the "attempted murder" scenes between the siblings earlier
. This is a film that has everything going for it, and then stumbles its way through clichés to find the exit. A major disappointment. Clio is still 2 for 3, though, so I'm not worried yet.
The highlight of my screening was accidentally stumbling into the entourage of... wait for it... motherfucking Wim Wenders, and being mistaken for an industry insider. I explained the confusion, but nonetheless, there I was, sitting and watching the movie with Wim Wenders. The image of Wenders slouched in his seat, with an almond fudge popsicle resting on his chest, demanding to know where his popcorn is, while his (agent? PR handler?) keeps asking if he wants anything else, to which he keeps replying, no, I just want my ice cream and popcorn, is something I am going to cherish forever.
Mother (2017) - 6.3/10. Really mixed on this. The metaphorical elements seemed really shallow and obvious to me, but the performances were really good and the mood/atmosphere was pretty compelling.
Definitely one of my least favourite Aronofsky films next to Black Swan, which I had some similar problems with. I think Aronofsky is capable of a much more complexity and intrigue than this, but at least it's like nothing else coming out in cinemas.
Strong Island (2017) - 8.5/10 - An absolutely shattering documentary and surely one of the best Netflix Originals to date.
It's incredible to believe this film was made by not only a first-time documentary filmmaker, but a relative of the victim.
Director Yance Ford effectively also makes herself the protagonist of this doc, and it's a clever conceit that really hammers home the brutal emotion of the scenario. The close-ups on her face are especially powerful.
The Oscar-worthy editing really does a fantastic job tying everything together and going for the gut. Just a very, very tight film in every way. Bring tissues.
Despite the trailers are telling you, don't go into Mother! expecting a horror movie. There is certainly horrific imagery and moments, but mother! is an allegorical psychological fever dream. I guess you could say it's somewhat of a thriller. Go in with the right expectations, and you might enjoy it more
Mother! is a weird movie that I liked a lot more in hindsight than while I watched it; I feel it's a movie that will shine more brightly on successive watches. I felt some areas dragged; it probably could have been reduced by a good 15-20 minutes
But what works, really worked. A sense of growing off-kilter unease, like you're experiencing this surreal fever dream right alongside Jennifer Lawrence. And yes, the escalating finale is as insane as everyone says.
Rip Harry Dean Stanton. A fucking bummer but at least he's leaving behind one of the most inimitable filmographies of a character actor in all of film history.
First They Killed My Father: A Daughter of Cambodia Remembers (2017) - 7.3/10 - An impressive step up for Angelina Jolie as a director, this is a harrowing and affecting film, propelled by an INCREDIBLE performance from young actress Sareum Srey Moch and Anthony Dod Mantle's excellent cinematography. Unlike a lot of Netflix Originals, this actually looks like a proper FILM.
It's held back from being great by a few directorial missteps which perhaps show Jolie's inexperience, using cheesy lightbulb effects during flashbacks/memories which would look more comfortable in a Saw film, some digitally-treated slow-motion and some choppy editing.
Still, a very respectable effort and a fine prestige addition to Netflix's lineup.
First They Killed My Father: A Daughter of Cambodia Remembers (2017) - 7.3/10 - An impressive step up for Angelina Jolie as a director, this is a harrowing and affecting film, propelled by an INCREDIBLE performance from young actress Sareum Srey Moch and Anthony Dod Mantle's excellent cinematography. Unlike a lot of Netflix Originals, this actually looks like a proper FILM.
It's held back from being great by a few directorial missteps which perhaps show Jolie's inexperience, using cheesy lightbulb effects during flashbacks/memories which would look more comfortable in a Saw film, some digitally-treated slow-motion and some choppy editing.
Still, a very respectable effort and a fine prestige addition to Netflix's lineup.
Wow, had no idea this was out today, thought it was still a little ways off. Definitely watching this on the weekend, thanks for the impressions and reminding me!
Victoria & Abdul (2017) - 6.5/10 - Didn't have much expectation for this beyond it being a pretty typical Stephen Frears film - that is, frothy and puddle-deep - and while it often is that, it's definitely the good kind of Frears period dramedy.
Judi Dench obviously barrels her way through the film like the force of nature you'd expect; she's fantastic and Frears smartly focuses on her face a lot, especially in one magnetic long take speech that's truly magnificent.
It's also more self-aware than I was expecting, thumbing its nose up at the unbearable pomp of the Royal circus a lot, and delving into the darker associations with that lineage.
Ali Fazal was also very good and the entire supporting cast really carried the film through even its slacker parts.
A very solid, if minor, movie that you needn't catch at the cinema, but it'll be a fun Sunday afternoon viewing on Netflix, and your mum/nan will surely love it.
Halle Berry vs Rednecks in a hilarious OTT carchase thriller. Her overly white hollywood teeth and how she's a poor waitress are extremely laughable. Camera panning left right and zooming in on her panicked face. Hilarious. Its so ridiculous and so entertainingly bad. Laughed so so much. Its a great B movie.
Alien: Covenant (2017) or "Why Elon Musk is Afraid of AI" - so this was a litmus test for stupidity, and pretty much everyone failed. Horrifically. From the "let's all go to an unknown planet without hazmat suits on" to
"I know these two androids look fucking identical but imma gonna trust the one answering to Walter is the right one"
, it's all intended as plot mechanics to get stupid people to do stupid things in the service of xenokind.
BUT... Fassbender kills it. David is creepy as all fuck and sits right in the middle of Elon Musk's poor nightmares, just waiting there with a slight head tilt and a composed "Hello, Elon" every time the man hits REM sleep.
Other than that, the crew are fairly useless and a rationale for why Trump won the election: there are a lot of stupid people who do stupid things in stupid situations.
Oh, and Scott does shoot a pretty movie.
Entertaining though, provided you are drinking while watching, which I was.
Mother! (2017): Darren Aronofsky never goes for anything less than broke, and that's certainly the case here. Mother! (which I refuse to render, as some have done, in all lower-case; E.E. Cummings can take a hike) is
a committed mix of metaphors for the Biblical history of humanity, man's relationship with the natural world, and a host of more immediate human concerns such as power imbalances in relationships and the problematic ways that artists draw on their relationships to feed their work. If there's a real flaw in the proceedings, I think that the movie becomes a bit less involving the more the human elements are stripped from the narrative as it progresses and becomes more obviously a huge metaphor
. But Aronofsky's technical filmmaking, particularly in keeping the audience in a perpetual state of unease, is remarkable here.
Planet of the Apes (1968)
Now I understand why "take your stinkin' paws off me, you damn dirty ape" has become such an iconic line. The whole sequence building up to that moment left me just as stunned as all the characters that heard it.
At first I thought it was gonna be a cheesy B-movie, but I left very impressed by how it conveyed its themes in an engrossing way, even with the foreknowledge of the big twist at the end. In fact, knowing the big twist enhanced the picture for me because of how different the ideals of the ape society has become from Caesar's days.
Neither particularly suspenseful nor shocking, Get Out ends up being a wasted terrifying concept lead by a very strong Daniel Kaluuya. The film seems to lack any kind of discipline to create the suspense (the lousy comedy that seems straight out of a bad sitcom doesn't help) and Jordan Peele seems a bit too unskilled in his directorial effort.
Toute une Vie - Claude Lelouch
A very weird Lelouch, beautiful, funny, romantic, almost like a fairytale, told very exquisitely through the intersection of the lives of the parents/grandparents of two people who are destined to meet. Marthe Keller is wonderful in the whole thing. Incredible camerawork with some amazing tracking shots (there was no steadicam at the time...). The ending, however, is a bit woeful lacking the inherent charming nature the whole movie has.
Neither particularly suspenseful nor shocking, Get Out ends up being a wasted terrifying concept lead by a very strong Daniel Kaluuya. The film seems to lack any kind of discipline to create the suspense (the lousy comedy that seems straight out of a bad sitcom doesn't help) and Jordan Peele seems a bit too unskilled in his directorial effort.
Saw The Shape of Water at a screening yesterday. It really does live up to the hype. It truly is magical. Hawkins deserves the Oscar, she's brilliantly conveys emotions with a lack of dialogue, & the rest of the supporting cast is great too. It may have surpassed Dunkirk as my favorite film of the year. It's that good.
Paris, Texas (1984) - 7/10 - RIP Harry Dean Stanton.
I've had this one on my watch list for a while, and it didn't disappoint. The laid-back pacing did make it a little exhausting, but Stanton is terrific here and the cinematography is absolutely gorgeous.
Wenders' spare approach can be a bit frustrating sometimes, especially earlier on, but his use of long takes during dialogue, especially near the end, is incredibly effective.
Planet of the Apes (1968)
Now I understand why "take your stinkin' paws off me, you damn dirty ape" has become such an iconic line. The whole sequence building up to that moment left me just as stunned as all the characters that heard it.
At first I thought it was gonna be a cheesy B-movie, but I left very impressed by how it conveyed its themes in an engrossing way, even with the foreknowledge of the big twist at the end. In fact, knowing the big twist enhanced the picture for me because of how different the ideals of the ape society has become from Caesar's days.
A rather good thriller/sci-fi lite film. It was my first time seeing it, one of those movies I just happened to miss over the years (or because I was 11 when it came out and way more into watching the Special Editions a 50th time). The crux is believing that Jude Law and Ethan Hawke can look alike on their blurry valid/in-valid identifiers, which is a bit much, but the rest of the film is pretty stellar set design and interesting ideas and what someone can do when they put their heart and soul into something they told they can never be. The super late plot twist was not so hot, but it didn't kill the movie, because there's a lot of really good stuff in there.
Mindhorn
This movie is so much like Alan Partridge, which is bizarre since Coogan's production company made it, and he produced and is in it for a bit. An aging celebrity gets involved in a police case and tries to use it for publicity. Only here, it's the genius move to make it an old 80's/early 90's TV action star. It relies too much on the over-the-hill actor jokes, I would have rather it gone down the route of making it a mystery to be solved and Richard Thorncroft uses the silly things he learned from the show to become Mindhorn for real. But it's still good, and Julian Barratt is excellent in it.
Bokeh
It's another light science fiction film that's more about the high concept idea and philosophical differences between the two leads than about pushing for something more. Because of that, it fell pretty flat for me, despite the pretty landscape shots and wonderful direction.
Still watching a lot of French and Italian movies from the 70s.
Don't Torture a Duckling was pretty good, a "who is the serial killer in the village?" story. Recommended if you like crime dramas/suspense. The end scene would be a definite highlight for Red Letter Media, wish they saw it.
A lot of these movies have awesome titles.
"Live like a cop, die like a man"
"A cat in the brain"
"Strip nude for your killer"
Caliber 9 was a so-so movie, but the last few minutes were good.
My favorite title comes from one of the many that Mario Bava's Bay of Blood is also known as: Twitch of the Death Nerve. I wouldn't care how good or bad the movie was, that title instantly makes me wanna check that shit out.
(Movie is pretty fun but it doesn't live up to the title.)
I like spaghetti westerns but the Italian crime and horror movies are more hit or miss for me. Sergio Sollima's Revolver, starring a drunk as fuck Oliver Reed, is a great one though. The Big Racket by Enzo Castellari is another good one.
I like spaghetti westerns but the Italian crime and horror movies are more hit or miss for me. Sergio Sollima's Revolver, starring a drunk as fuck Oliver Reed, is a great one though. The Big Racket by Enzo Castellari is another good one.
But even the bad ones are good, I watch them while doing other stuff, and if I'm enjoying them I'll start to really pay attention. Like right now I'm watching Live like a cop, die like a man, and these cops are seriously over the top nuts it's laughable, but worth watching.
There's always some good scenes in these movies even when they're bad.
Mother! (4/10) - I rarely describe movies this way, but this was annoying. I honestly just wanted the movie to end for the last 45 minutes. From a technical and performance perspective, it was great. Jennifer Lawrence is pretty good given what she had to work with. The audience is essentially put in her shoes with a ton of close ups of her face/first person shots and her character is put through constant torment, therefore you're put through constant torment as well. I guess Aronofsky accomplished what he was going for here, I just don't understand why anyone's goal would be to make a film that is impossible to enjoy. I will never watch it again.
Caesar's sudden appearance in the present of the future of 1991 isn't going to make much sense without the other two, and misses a viewer out on the connection to *that* scene in the Dawn remake.
I'd say the whole series is worth watching once as a whole (which are marathoned still 5 hours shorter than a LOTR EE marathon!), it's just that the second and third movies are ones you'll never rewatch after that.
But in terms of 'would I watch it for fun only', then Conquest, yes.
Oh, and completely on the side for those here who are good with photoshop, for future Star Wars threads: the Ba-ba-dook thing, except with Jar Jar Binks. Those episode 9 threads are so boring without any good gifs in them. :>
edit: Jaws is not on Netflix in my country But the Twilight series is. Bitchin', I know what I'm watching in October. Already did Twilight, so I can take it.
I can do this. Free my mind, I got this.
I am also still saving Fifty Shades Darker for the eventual reckoning.
Hidden Figures (2016) - exceptional tale of the women (all PoC) who helped the US space program gain dominance in its race against the Soviet Union. Taraji Henson is the standout here, as Katherine Goble Johnson, who is simply a math genius.
As an IBMer who works on mainframes (the Linux-only variety these days), I also got a kick out of the room-filling data processing system and the huge effort it took to install and program for it.
The home life stuff added depth to the story as well. I thought Costner was great as the guy who just wanted to get to space; the fact he didn't care about the color or gender of the person helping make it happen was well done and well acted.
It's a weird feeling being at the theater and realizing there's a new movie in this franchise, and it stars Tom Cruise. I loved the original and the remake, so I was going to watch this. (I choose to forget Brendan Fraser vs. Jet Li.)
The movie itself is forgettable, but it's a shame since I think a script edit could've made this something quite alright. I enjoyed the first act, which is capped off
by a pretty good airplane sequence and Tom Cruise dying. Genuinely the last direction I'd expect the movie to take.
The problem comes after this. The movie meanders a little and goes on tangents for weird things. I'm not sure why Russell Crowe's character is in this movie. It's a good character, but it's the wrong place, and just hurts the movie's pacing and focus.
It was also a bad idea to escalate the threat so much. It works against what could've been the strengths of the movie by feeding into more generic blockbuster territory. I feel like it would've been smarter to lean more into the horror, while balancing it with a bit of dark comedy. Keeping the threat level lower would've served it well too.
It didn't need to be a world ending conflict.
There are also some strange editing issues. The entire opening sequence was misguided. There was a simple and more efficient way to convey that same information. Some rearranging would've been good to give it a better start. Overall, the first act was quite decent, but shortly into the second act, the movie loses its way. The end result is a mish-mash of some decent ideas, and tonal inconsistencies that would only work in the hands of a more skilled director.
It's disappointing watching movies like this, because it's not just that they're forgettable, it's that there was potential for something enjoyable in there, but the execution and focus was wrong. The script needed a major edit.
Gearing up to watch Hugo tonight and either Wind River or mother! tomorrow. I liked Hugo in theatres, so I'm curious if it's as good as I think it is, and if the 3D did in fact add quite a bit to the experience.
This is a very dumb movie, but boy did I actually find it kind of funny in its absurdity. And what kind of abrupt ending was that? It's like the writers just gave up. Though that could be said for more than just the ending. Some things just didn't add up, or go anywhere.
So Watson's character lands a job at this Apple/Google/Facebook hybrid company. At some point she ends up in a late night kayaking incident, and because of this company having all these tiny, always streaming/recording cameras everywhere, her life is saved.
But what makes no sense is that I'm supposed to believe that she is now completely fine with giving up nearly all of her privacy, when it was clear (at least to me, based on her actions, expressions and reactions) that she wasn't into this company being so deeply entrenched in every aspect of her life?? It's just not believable. She even comes up with more invasive ideas for the company to implement, and apparently the denizens of the world are just a-ok with it. Governments included!
And what was the point of Boyega's character?
He could've been completely absent and it would've made no difference. Same for the Scottish friend and the underground area. None of it amounted to anything meaningful.
Again, this movie is dumb. That really can't be stated enough. Maybe, like me, some will find some humor in all this stupidity. I don't know, haha.
The Circle is like a Black Mirror episode gone wrong.
Watched Paris, Texas tonight in honor of Harry Dean, was my fourth time seeing it. It gets better every time, truly one of my all time favorites. And as good as the conversation scene is, which is clearly and deservedly enshrined in the pantheon of great scenes,
the spin Jane gives at the end while hugging Hunter
is the single most powerful moment of the movie. It moves me to my core, I straight up get tears and shit.
My first foray into Bertrand Bonello's work. Really captivating for a somewhat thin-ish plot, a detailed look into the lives of several prostitutes working in a luxurious Parisian brothel in the early 20th century. There's some really striking scenes and the whole thing has left a memorable mark etched into my memory. 9/10
