Andrew Haigh’s Weekend does a lot of things right. It does loungy small talk turned tonic really well—the way awkward morning-after courtesies can spiral, and soon meaning begins to brew. Intimacy isn’t as taboo or as alien as some movies would like you to believe. It does drug and drunk talk really well; that gabby strain of effusive conversation that is frank and...
"I remember it distinctly. You know, first coming... →
Nicolas Winding Refn… on Gosling: “…our friendship evolved into a telekinetic relationship…We’re two people with one mind. It’s almost like your alter ego” on Carey Mulligan: “I knew that I would want to protect her. And she reminded me of my wife in a way, because she felt so pure that I could now, be the driver of the movie. I knew I could...
Brady Corbet issues the occasional flash of Funny Games—one scene in particular—in his performance of Watts in Martha Marcy May Marlene. Elizabeth Olsen has a seemingly prosperous and divine (nearly preposterous) beauty and occupancy on screen. In a few shots, her stare baits you the way Maria Schneider’s stare baits you. Martha Marcy May Marlene…Maria. John Hawkes’...
“The beautiful people in Belle du Jour, a queerly pseudo-Hollywood film, include a wife, pale blond from head to foot, her beefy male-model husband, an urbane Iagoish friend on the sidelines who cynically nudges the wife out of purity and the husband into cuckoldry. A singular trait in this coolly deadpan comedy is the sinister equilibrium in the alignment of these figures with their...
Ludivine Sagnier on "Love Crime" →
Dozy eyes and half-parted lips=a milkier, murkier, threat
TOUCH BASE w/
Phone call from my father who is in Greece: He asks how I am. My response: “Wet hair. In a rush.” He holds the phone up to the sea/waves/wind, and asks if I can hear what he hears. My response, “Yes.” Though really all I can hear in my room is the sound of my fan which I leave on all day, all night (and into the winter) for placebo-related reasons. He says, “Okay,...