The world without Wong Kar-Wai is one without feast, function and abundance. So rich is this vibe, with which he outwardly manipulates the viewers from beyond the screen: an entire background caked in green, and blue, and motion blur, and the eerily scarce neo-Chonqking motorway after a hotel stay. Monotonous these characters may be - everyday, schedule, routine (even amongst the criminal, wherein that ice cream trip is certainly one of many others like it) - but its the physicality,…
Like Elephant before it, a truncated mess of exploitation and ridicule for the survivors, which similarly gives far more weight to the murderers than they deserve. Maybe it’s just me but this brand of reenactment over humanities worst atrocities is just in the worst taste. I fail to see the purpose in attempting to entertain using these real people as puppets: general filmmaking standards do not answer to morality, especially in these cases. It just becomes an experiment in humanisation (the classic ‘can you make a movie humanising Hitler’ debate), which is something I’m really not interested in for such gross human beings.
Day 283/366: A Silent Voice
As long as you have love and a little masochism in you, you can beat a little thing like an allergy, can you not?
Do you like me or the serotonin? The idea of my smile over you or the thoughts in my head? Am I just an exercise in ego, a jump start from a relationship long lost or am I going to lead to your jump starts in the future? It isn't…
Day 292/366: Perfect Blue
When you make a jigsaw, the natural starting point would be the edge pieces; building inwards until you’re finished. Perfect Blue scraps that notion, giving you only the centre portion, asking you to build outwards. Kon creates a hallucinatory death spiral into the mind of the patriarchy; a scratching, tearing toddler divulged of weakness attempting facade. Every thematic element stacks upon the prior so neatly, you’d begin to wonder if this was formed by man…