![]() It’s a little more paint-by-numbers than All the Beauty, but it’s a tremendous behind-the-scenes look at a former presidential candidate who survived a Russian assassination attempt and it features one of the more shocking scenes I’ve ever seen in a documentary. I’m totally fine with Navalny winning here. Director Laura Poitras has won this award before, so it’s very possible that she runs it back. It’s a beautiful in-depth look into Nan Goldin’s war with the Sackler family and deserves all of the plaudits it receives. All the Beauty and the Bloodshed is probably the most “artistic” of the three and genre-breaking, which always gets my attention. I actually really like the three docs in the driver’s seat in this category between the above, Navalny and Fire of Love. Should Win: All the Beauty and the Bloodshed ![]() Navalny - Daniel Roher, Odessa Rae, Diane Becker, Melanie Miller and Shane Boris Kim Ki-woo returning to the house as its owner would be a dreamlike way to end Parasite, but his waking up from the dream reminds us the nightmare is real.All That Breathes - Shaunak Sen, Aman Mann and Teddy LeiferĪll the Beauty and the Bloodshed - Laura Poitras, Howard Gertler, John Lyons, Nan Goldin and Yoni Golijovįire of Love - Sara Dosa, Shane Boris and Ina FichmanĪ House Made of Splinters - Simon Lereng Wilmont and Monica Hellström The ending of Parasite gives its most gnawing and lasting feeling, reminding us that the amusing trickery and funny dialogue have been distracting us from this sad truth. I like those people, and I’m always rooting for them, but making the audience feel something naked and raw is one of the greatest powers of cinema,” Joon-Ho says. ![]() “ There are people who are fighting hard to change society. Here is the wretched statement the film has been slowly but surely worming its way toward, and the director is being honest with the audience in a way that feels unbearably real after we have been allowed to get our imaginations go wild. This level of frankness with the audience is a deadpan moment which pulls you out of the comical farce you have been watching unravel. ![]() There is a circle protecting the wealthy that loops forevermore. When the Parks leave the magisterial glass house, it won't be the Kims that claim it, but a German equivalent of the Park family. While the film encourages us to judge the materialistic and gullible Park family, it doesn't allow us the the fairytale of seeing the villains overthrown. In letting Kim Ki-woo narrate his rise up the stairway, only to throw him back down it again, Joon-Ho is dashing our hopes that he has escaped from the basement as we watch reality come crashing down. In the same way that the couple living in the Park family's basement are trapped below them and only want to be able to walk up the stairs, the Kim family look up at street-level to where they want to rise to. Joon-Ho has called the film his “stairway movie”, meaning that the film gives us all of the different steps of class aspiration and shows us how, for some people, trying to climb to the top only results in you being kicked down to the bottom again. What has transpired since allowed them to, albeit briefly, escape, but now those that are left are trapped back there again. The closing moments of the film hark back to the the opening where we saw the Kim family in their cramped, damp basement which feels like a prison.
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |