Husbands and Wives
“He seduces you,” says one corner of the cinematic triangle of Xavier Dolan’s Heartbeats, referring to another corner. There are plenty of films about love, friendship, and love and friendship, but Dolan’s second film, about two friends in love with the same guy, does an impressive thing that few of those films can do: articulate the exact feelings of love and heartbreak through cinematic form. Several films capture moments of love, perhaps even recreate scenes easily identifiable, but the actual emotion itself is hard to render. Wordless, invisible feelings are rendered nearly tangible and very palpable on the screen. The film seems to bleed emotion.
There’s something eerie about Woody Allen’s versatility. While some would be quick to accuse Allen of making the same film over and over again with the same archetypes repeatedly, his ability to oscillate between genres, tones, and moods is astonishing. He can do straight romantic comedy (Scoop), humane dramedy (Annie Hall/Manhattan), laugh out loud absurdity (Love and Death/Bananas), Keaton and Chaplin inspired slapstick (Sleeper), Bergman-esque ruminations on human contact (Another Woman, Interiors, Hannah and Her Sisters, and September), German Expressionist comedies (Shadows and Fog), and even put comedy and tragedy up against one another to juxtapose and complement (Crimes and Misdemeanors/Melinda and Melinda). With his newest film, Blue Jasmine, Allen comes the closest he’s been in years to perfection and the closest he’s come in his career to making a horror film.