There’s a scene that made me think that Magic in the Moonlight might be a critical self-examination of Allen’s own nihilistic ideology. At some point in Magic in the Moonlight, rather early into the film, there is a scene where George, a psychiatrist, makes an impromptu diagnosis of our protagonist Stanley (Colin Firth), noting him to be neurotic, depressive, nihilistic, etc. It’s the usual ten cents that anyone with eyes and ears can discern from a majority of male protagonists in Woody Allen films, but there was a dryness about the diagnosis this time around, or, at least when I noticed it. Comments of this kind are made about Firth’s character from nearly everyone, but the coarseness of them is sharper than normal.
A young woman in her late twenties pirouettes, jumps, and spins through the streets of New York City as David Bowie’s “Modern Love” pounds in her head, on the screen, and in our hearts. It is not only the city that sparkles in Noah Baumbach’s Frances Ha, but Frances herself. Energetic, prone to folly, and warmly sincere, Frances is perhaps the best illustrated character to come out of film in ages, both a perfect fit for the contemporary environment she inhabits and yet timeless in how human she is. Read the rest of this entry »
“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.