well I fear, my dear, that it's eminently clear
that you can't see the trees for the forest
28th watch of my “Watch This Shit in 2019” list
Capra doing von Sternberg...holy shit. This is unquestionably the most audacious work I've seen from Capra, visually and thematically. It's at times a fraught and uncomfortable watch, particularly from a modern perspective, but this tension contributes to the film's erotic thrall.
THE BITTER TEA OF GENERAL YEN so thoroughly immerses itself in the tangled threads of orientalism, exoticism, religion, racism, and sexuality that it is worth the offense because of…
"Who needs beautiful things nowadays, Claudia? How long will they last? All of this was built to last centuries. Today, ten, twenty years at the most, and then? Well..."
Self-sabotage in a barren and desolate world, the wealthy wrecking lives and creating chaos—a shark sighting, an affair or two or three, a disappearance, a spilled bottle of ink—to try and leave some impact on the physical world. They try to convert emotion into reality—or create emotion where there is none,…
Leave Bazin out of this, thanks.
I’ve only got some messy unformed thoughts on this right now, but I am undeniably disgusted with how Cuarón cannibalizes Cleo’s—and, therefore, Libo’s—
perspective and identity.
The Variety article on Cuarón’s filmmaking process is very telling and discomforting, as it divulges the ways Cuarón mined his own nanny’s life (without prior consent). And then there’s this:
“As his own social awakening began to take hold in later years, Cuarón realized the obvious: Rodríguez was…