![]() ![]() But the shore is also infested with crass, noisy people Leda’s fruit infected by a malignant rot her bedroom contaminated with screeching bugs a little girl’s doll corrupted by noxious black liquid and writhing insects. On the beach that comparative literature scholar Leda (Olivia Colman) lounges on throughout The Lost Daughter, the skies are a crystal blue, the beaches a shimmering white, the water warm and translucent. Stars: Olivia Colman, Dakota Johnson, Jessie Buckley, Paul Mescal, Dagmara Dominczyk, Oliver Jackson-Cohen, Peter Sarsgaard, Ed Harris It’s almost unbearable, but we bear it because we care about these people we’ve become involved with. So that when we come to that point late in Roma, we don’t even realize the slow, organic process by which we’ve been invested fully into the film we’re not ready to be hit as hard as we are when the wallops come and the waves crash. The result is a singular film experience, one that recreates something that was lost and then navigates it in such a way as to find the emergent story, then from that to find the emotional impact. Perhaps they’re not wrong, but it is to Cuarón’s immense credit as a thoughtful technician and storyteller that he does, in fact, pull it off. ![]() Reserved and immersive, introspective and outward-looking, old and new-some have accused Roma of being too calculated in what it tries to do, the balancing act it tries to pull off. But the base aesthetic and narrative is Fellini, or long-lost Mexican neorealism, or Tati’s Playtime but with sight gags replaced by social concern and personal reverie. The sound mix is Dolby Atmos and enveloping. The camera gazes and moves in trans-plane sequencing, giving us foreground, mid-ground and background elements in stark digital clarity. Not even entirely focused on her, perhaps more focused on its classicist compositions of a place that no longer exists in the way Cuarón remembers it. ![]() The camera sits back, black-and-white, focused not on the bourgeois children that represent the cinematographer-writer-director and his siblings growing up in Mexico City several decades ago, but moreso on the indigenous woman (Yalitza Aparicio) that cares for them and the household. Stars: Yalitza Aparicio, Marina de Tavira, Diego Cortina Autrey, Carlos PeraltaĪlfonso Cuarón’s most intimate film is also his most distancing. Here are the 20 best sad movies on Netflix: The movies we’ve selected here are the best sad movies that Netflix has to offer. But you don’t want to settle for any ol’ sob story. Sad movies can be a balm for our own pain, company for our misery, as the stories that unfold remind us that grief is part of our shared human experience and that heartache and melancholy are simply a part of life. "Chris Rock makes comedy history as he performs stand-up in real time for Netflix's first global livestreaming event.Sometimes you just need to cozy up and turn on a tearjerker.
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