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Review: House of Tolerance
Luscious 35mm photography, well past its twilight hours, seduces us just for the sake of breaking our hearts in the present-day coda, cutting to a harsh digital image that induces a mental whiplash - spelling out how perhaps not all changes have to evolve so slowly. Torn between 1900 and 'now', the film's soundtrack meets us at the mid-point with a mix of 60's soul (The Mighty Hannibal, Lee Moses), which penetrates its way into the diegetic space of both temporal contexts. It's enough to make one believe that Bonello's casting of living, 21st-century actresses in the lead roles was a deliberate decision.
House of Tolerance | Review
Bonello's decadent brothel showcases Tolerance and Pleasures within a hyper-dimensional timeline
Review: Melancholia
Evil, for von Trier, is not obviously malicious or dark-sided, but rather the veneer of precious moments and gestures that prevents humans from doing and feeling what they actually want. The planet and it's heavy-handed nomenclature dispel a nasty, yet authentic, worldview suggesting that all of these things that make us happy are so irrelevant that it's a wonder that we aren't running and screaming, dreading death, from the moment we first learn to walk and speak. It's an extreme notion, but do we expect less from him?
Melancholia | Review
Life Ends With a Bang in Von Trier's Melancholia, The Happiest Apocalypse Cinema Has Ever Seen
The Wages of Fear: The Films of Henri-Georges Clouzot
Filmmakers -- especially French ones, and especially those working before the 50s -- are often overly romanticized amongst cinephiles. We love a great film, but we really love the underlying legends and myths of the artist and the creative process, struggling and screaming and clawing to get each film made, centralized on a whirligig of backstabbing, betrayal, and romance.
