Showing posts with label Kinetta (2005). Show all posts
Showing posts with label Kinetta (2005). Show all posts

Friday 9 September 2022

Four Theses after dutifully watching the whole of Crimes of The Future (2022) : Crimes against remotely being cinematic (work in progress ?)

Four Theses after watching the whole of Crimes of The Future (2022) : Crimes against cinema ?

More views of - or before - Cambridge Film Festival 2019 (17 to 24 October)
(Click here to go directly to the Festival web-site)

9 September

Four Theses after dutifully watching the whole of Crimes of The Future (2022) : Crimes against remotely being cinematic (work in progress ?)


Preamble :


This is about as cinematic as the whole film gets - and as much daylight
(From the opening shot, with Sotiris Sozos (as Brecken))


In preparing what follows for publication (e.g. checking such things as release-dates), it has become apparent that IMDb has been told to call Crimes of The Future (2022) Drama / Horror / Sci-Fi. (It obediently calls The Killing of A Sacred Deer (2017) Drama / Horror / Mystery.)

In fact, it is an indigestible, plasticized stew of (in chronological order*) such elements as :

* Doctor Who (1963 – 1989) [Especially The Troughton / Pertwee / Baker I years]

* Delicatessen (1991)

* Shadows and Fog (1991)

* Crash (1996) [Cronenberg's own, far superior film]

* Kinetta (2005)

* Raw (2016)

* The Killing of A Sacred Deer (2017)

* Pain and Glory (Dolor y gloria) (2019)
* The French Dispatch (2021)



Four Theses (Review points proper)

(1) Only restrained by someone's recent Tweet** that one cannot justifiably comment on a film, if one walked out, it can now be said that, at 15-20 mins of 107, the impulse to leave Crimes of the Future then should have been taken.

(2) Without the names Viggo Mortensen, Léa Seydoux, Kristen Stewart, etc., Crimes would be indistinguishable from an undistinguished film-festival submission, whose 'screener' one would keep pausing to shout incredulous injunctions or obscenity (as if one's dutifully tortured watch were the real drama ?).

(3) A film that is over-reliant on speech - rather than juxtaposition of scenes or narrative-jumps - as exposition, and (inter alia) shabby interiors*** in low light-levels against which to set Lanthimos-like conversations.

(4) It helpfully used up a free ticket at The Arts Picturehouse.


Courtesy of Annie Lennox and Dave Stewart (as The Eurythmics), there is, now, a synopsis [Eurythmics, Annie Lennox, Dave Stewart - Sweet Dreams (Are Made Of This) (Official Video)], to which #UCFF links here !







More to come... ?






Afterword :



End-notes :

* Titles with underscoring will, in due course, have links to #UCFF reviews - the film-references are not necessarily to films rated well.

** Obviously, as it was in the last week, not this Tweet, but it will do... :

*** As of, if not in, the derelict buildings in Athens that we see in establishing shots. (Occasionally, we are en plain air)




Unless stated otherwise, all films reviewed were screened at Festival Central (Arts Picturehouse, Cambridge)
Posted by at No comments:
Labels: , , , , , , , , , , ,

Monday 19 August 2019

Animals (2019) - Good and bad (mainly, if anything, the latter)

Animals (2019) - Good and bad (mainly, if anything, the latter)

More views of - or before - Cambridge Film Festival 2019 (17 to 24 October)
(Click here to go directly to the Festival web-site)

19 August

Animals (2019) - Good and bad (mainly, if anything, the latter)


In brief :

First, and foremost, this is a film-festival film*, which, with Australian / Irish film-industry funding, has somehow obtained distribution

It may not have been made as a television film, but it could not even 'fill' Screen 3 at The Arts Picturehouse - not that there was no audience, but that Animals felt small, trying to occupy a space, and use silence and its funky score, in a way that just had no impact, and seemed effort with no result. It would work much better on t.v., with its bubbles of out-of-focus street-lighting, glitz, and characters / their positions, which often seem insubstantial

The moments with the wildlife (were they any more than rushes ?) were, so much more so than Dylan Thomas' stuffed fox, would-be portentous - or with a sickening literalism to Who were the animals here ?

 Good use of location (an establishing shot, and suitable noises of the sea and its birds, sufficed to make the interior of where Jim lived match that exterior)

 Fixation on masturbation and cunnilingus ?

We are to believe / credit that Laura 'is a writer', because she has a poster for Virginia Woolf's A Room of One's Own** to the left of the desk where she works (let alone, nearby, another image of Ginny)...


In detail :

 The film is well enough made and shot, but one takes those as given - although the real or seeming artlessness of an early Yorgos Lanthimos film, Kinetta (2005) may be an impediment to some (in a sense, it is meant to be one), it is part of the affect of the film, and heightens its worth : on the scale of Animals, those things about everything being in focus and lined up, etc., are absent, but that does not make Animals a better film, and Kinetta is arguably far finer despite and /or because of them.

On the Road (2012) scarcely did a worse job, with Sal Paradise, of convincing anyone that he was not only a writer, but also could even - just by soaking it up, and writing it down (i.e. typing onto the probably mythical continuous roll of paper) - self-referentially create what we were seeing :

Except that we know that Jack Kerouac was a published writer, whereas nothing that Laura does suggests that she writes / can write anything beyond note-like observations, and her decade-long pretensions, although the film may feel that we spent that long with them at times, are just irritating. Laura is Frances, in Frances Ha, but Frances (Greta Gerwig) has real emotional reasons why she cannot do what she actually can do, and Laura (Holliday Grainger) has over-indulgent people who listen to her talk about it instead.


[...]



End-notes :

 * Very often, 'film-festival films', once so viewed, stay viewed in that way (and with suspicion), and so are not thought of as commercial. Many films of this quality or better do not even get a screening at a significant film festival - a film's being distributed is therefore not, in itself, a measure of its worth.

 ** The book that, first delivered in two lectures at Cambridge (at Girton and Newnham Colleges), puts a case for why a woman needs space, let alone one who would write, who has to have one in which to do it : A Room of One's Own could almost have been the tag-line for the film ?




Unless stated otherwise, all films reviewed were screened at Festival Central (Arts Picturehouse, Cambridge)
Posted by at No comments:
Labels: , , , , , , , , , ,

Wednesday 2 May 2018

On first watching Yorgos Lanthimos' Kinetta (2005)...

On first watching Yorgos Lanthimos' Kinetta (2005)...

More views of - or before - Cambridge Film Festival 2017 (19 to 26 October)
(Click here to go directly to the Festival web-site)

2 May
On first watching Yorgos Lanthimos' Kinetta (2005)...








Some after-throughts :







Unless stated otherwise, all films reviewed were screened at Festival Central (Arts Picturehouse, Cambridge)
Posted by at No comments:
Labels: , , , , , , ,
Subscribe to: Posts (Atom)