12/18/2023 0 Comments Pandemonium movie asian scene![]() ![]() “When the pressure gets too strong, I turn into a dictator,” a quote from Fassbinder reads. They bear the all-caps musings of Noé’s cinematic forefathers: Carl Theodor Dreyer and Rainer Werner Fassbinder deliver self-aggrandizing mantras of craft. Pretension is an understatement, as title cards in ancient Roman-looking font appear spliced occasionally in between scenes. ![]() Noé’s style is aesthetically valid, yet deeply alienating, sometimes borderline painful to watch. READ MORE: Summer Movie Preview: 35 Films You Shouldn’t Miss Those prone to epilepsy should be particularly wary: As the film set descends further and further into pandemonium, DP Benoit Debie casts these characters in glaring monotone, then blinding, multi-colored strobe. All of these assorted miseries culminate in an ending so unwatchable, you can almost feel Noé smirking behind the screen, daring his audience to avert their eyes. READ MORE: the 100 Most Anticipated Films Of 2019Ī modest essay, indeed. “I’ll just be a fucking scarecrow,” Lee whines, sticking her arms out mockingly. Meanwhile, various stick-thin supermodels ( Abbey Lee and Mica Arganaraz ) and It girls clad in glittery cocktail dresses (courtesy of producers Yves Saint Laurent) throw tantrums in the fitting rooms. Charlotte also continually fends off the advances of a persistent young filmmaker ( Karl Glusman ), who attempts to tap her for his first project. Poor Charlotte ( Charlotte Gainsbourg ), the film’s central actress, fields distressed phone calls from her child, whose schoolmates are tormenting her. Béatrice ( Béatrice Dalle ), the inner film’s de facto director, bemoans the general incompetence on set, and spends the duration of the film trying to wrest control from the upper management at any cost. The mockumentary travels, in disorienting parallel split-screen shots, through the mounting chaos of a film set for “God’s Craft,” Noé’s invented film on witchcraft. Indeed, the women in Noé’s self-referential film-within-a-film are subjected to a number of grisly outcomes. READ MORE: 2019 Cannes Film Festival: The 21 Most Anticipated Movies Alfred Hitchcock’s advice for aspiring filmmakers famously included a succinct but pertinent recommendation: “Torture the women.” Known for other provocative titles like the erotic drama “Love” and last year’s trippy dance thriller “ Climax,” Gaspar Noé takes a cue from Hitchcock’s book in what Noé describes as a “modest essay about beliefs and the art of filmmaking.” For “Lux Æterna,” which screened out of competition at the Cannes Film Festival, the only necessary trigger warning is “directed by Gaspar Noé.”
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