#details and the cinematography is absolutely gorgeous just beautifully done | Explore Tumblr Posts and Blogs

randomness-is-my-order · 5 months

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the pjo show’s cinematography is so warm and homey and clever and detail-oriented so i wanna compile a few of my favourite still shots because why not??

^this one had me smiling so hard, not because it’s a particularly beautiful shot but the framing of the three is so well done. the focus is on sally who is talking to grover (both prominently in the front of the shot) while percy – who isn’t a part of the conversation but a listener of it – is still properly visible through the glass of the door and like??? i just think it’s a super cool way of having a passive character in the shot that i haven’t ever seen before, in a way that percy is both highlighted and still so clearly in the background that it doesn’t take away from the focus characters. also percy’s sweater matching the colours on the door is the cherry on top!!

^next is this one. it’s so perfectly angsty and though not complete, the symmetry is still eye-catching. it encapsulates the feeling percy must experience in that moment–him, amidst destruction, knowing he’s the cause but not knowing how or why. he looks all of twelve with his haphazard hoodie and almost forlorn look. he is not gloating, he is not cheerful. though he doesn’t know the gravity of his parentage, it’s almost like the show is telling us that his powers–which cause the door to break, too btw–will always be a source of isolation for percy. he is a force of nature, a destructive one most of the time, and the fact that he is just a child who is confused will never matter because this world doesn’t care for childhood but godhood alone.

idk, this shot just evokes a very unsettling kind of sadness for me. i think it’s beautifully framed.

^i absolutely love this one simply for the fact that the sheer struggle of the fight is so prominently visible. and yes, i cheated, this isn’t exactly a still shot but like an action sequence screenshot but whatever, it’s too good to not mention it here. the way percy is, honest to gods, bracing against the spear for his dear life, the evident and overwhelming rage on clarisse’s face, the blocking of the scene – it’s perfect. clarisse is not playing and percy is genuinely in danger and i love how this shot and the whole scene really sold us on that fact.

^ i just think it’s extremely cool that we can see the minotaur howling in pain, percy having his mouth wide open as if he’s letting out a yell as he goes to plunge the horn and that as percy does this act–killing the minotaur–which is surefire source of safeguarding himself and grover, something that will get him to camp, we can see thalia’s tree in the background. there is no reason percy had to make the kill here, with the chaos of the fight, so the fact that this is the spot and this is the shot as he kills the minotaur makes me think it’s deliberate. having thalia in the background is so impactful because again, percy could have met a similar fate in some other alternate universe but here, he wins and he survives.

^ do i even need to explain??? the shot is pretty and beautiful and almost magical. percy, alone with a tin of fire, burning blue food and talking to his mother. maybe one thing i can point out is that the sally-percy bond has been heavily indicated through glowing lights since the start. if you recall, the “you are not broken” speech by sally was given in front of the warm, glowing headlights of the car and percy’s face was illuminated by that warmth just the same way it is illuminated by the tin-fire in the forest.

^ first, this is too fucking gorgeous. second, percy is wearing his red jacket again and this dream happened after he reached camp so in my opinion, this dream was initially a comfortable imagining of percy’s mind and was then hijacked by kronos but i could be wrong since i don’t clearly remember how they manifested in the books originally. nevertheless, it’s a great detail to have him wear the red jacket because even if he may not have it with him anymore, it’s still clearly something he holds dear – and might associate sally’s memories with.

also, the fact that percy seems to have alot of scenes with fire might be because as someone who can control water, fire can never truly be a source of danger for him and therefore, he can find comfort in its warmth unhindered, always?

^ how could i not love this epic moment? the trident is perfect, big and blue and grand and majestic. half the screen is water, obviously. but what makes this good shot a great one is that there is literally no one else directly near percy except annabeth. the campers are all far away and in this shot itself only annabeth remains close to percy, though she is fittingly on the land, observing the scene before her. remember how i said percy’s legacy promises isolation but this shot tells me that despite that, percy will have someone who he can count on to be by his side (also cool that even in the bathroom, annabeth was technically still near him, even if she was, well, stalking him) and maybe this is my delusional ass talking, but annabeth being here is foreshadowing for me. i just think it’s a choice to have this epic revelation where they could easily have had percy standing alone in the middle of the lake but no, annabeth is also there and not only because she’s the one who led to that revelation but because she’s someone who isn’t intimidated by percy’s parentage and still can be beside him.

^ i adore this shot because 1) it shows us just how young and tiny percy is and 2) it tells us that maybe that door is so fucking huge because it’s being inclusive of centaurs and other giants of their world. also, symmetry strikes again!!! the colours are so well balanced, not bright and vibrant but on the pastel side that indicates an aged feel to them.

and lastly,

^ i just find it funny that a private academy like yancy has an official vehicle that looks as beat up and terribly malfunctioning as this. 😭 like this half van was so out of place i literally goggled at the screen when it first appeared.

okay, i’m done for now. i also really liked the faceless sally scene in the start paralleling medusa’s eventual beheading but i already made a post about it. this legitmately only covers about 10% of the shots i wanted to talk about but these might be my favourites. this was long af so if you read the whole thing, mad respect to you.

#percy jackon and the olympians #percy jackson #percy pjo #pjo #pjo fandom #pjo series #pjo tv show #pjo tv adaptation #walker scobell #pjo tv series #leah jeffries #cinemetography #direction #pjo tv spoilers #annabeth percy jackson #percabeth

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skamamoroma · 3 years

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“I Told Sunset About You” - Review/Recap/Whole Bunch of Nonsense Rambling about my Love!

Every now and then a show comes along that I get absolutely knocked off my feet by and I can’t stop thinking about it until I write a whole bunch of nonsense because it’s THAT GOOD and this damn show. I’ve thought about it all week. Outside of the SCU and other longer running stuff, the last time a show sidetracked me like this was San Junipero and I dreamed about that episode for weeks! This show got to me so much that I knew I had to write that whole bunch of nonsense for real and I decided to write a bit of a review and then some specific posts about some of the themes, metaphors, ideas and shots etc that I adore. So if this is not your thing, I tag religiously!

So if you haven’t seen it, the show is about two young boys, Teh and Oh-aew, living in Phuket in Thailand about to take their entry exams/go through the Uni acceptance process. They were childhood best friends until they had an argument which caused them to stop speaking to one another for many years until they meet again at a Chinese class. The story is about friendship, identity, love, rivalry, family, authenticity, ambition and growing up. It’s sweet, funny, painful, warm, difficult, romantic, hopeful, honest and insightful. I hope you don’t fall asleep reading... !

My friend in Japan recommended this show to me. I watch a lot of movies/tv from different parts of the world but rarely from this part of the world not because I don’t want to - I DO! - I just don’t know what’s good and I tend to rely on recommendations from friends or coming across things by chance. If you’ve followed me for even a while, you know my JAM is character driven, nuanced, beautiful shows that go heavy on authentic emotion but use cinematography/music/sound/colour and other creative tricks to further the story. Nothing makes me go starry eyed more than a show SHOWING without a single moment of TELLING where it isn’t necessary and this show hit every single one of those things and more to the point that I was completely swooning at how much of a masterpiece it is. I swear some tiny moments in this show have me floored with how effective and meaningful they are. ARGH.

As icing on the cake, it’s beautifully LGBT+ themed (written in part and, I believe, directed by LGBT+ folks - if I’ve got that wrong from translations, let me know). These themes are created with care and love, felt refreshing with characters I don’t feel I’ve really seen before. I know that there is info to suggest that they wanted to create this show much more FOR LGBT+ folks and to differentiate it from a style of show that is perhaps more popular for a mainstream audience or a certain audience that wants a certain thing from some Thai dramas (I’m personally not into BL - I think that’s what the genre is called as I kinda don’t know how to feel about that stuff being hella tropey and made for a specifically straight female audience)… and you can tell. They apparently didn’t promote this as that genre. Some of the other themes were so interesting and explored so beautifully. The idea of rivalry and competition was handled with so much insight and depth that it really did stun me at time’s how skilled the writing is.

The acting… oh the acting. I know Billkin and PP have apparently been close friends for many years but even that sometimes doesn’t guarantee to equal this level of chemistry. They are stunning actors, genuinely nuanced, so charismatic and loveable. I love that even the sad anguished moments are messy as hell (and a couple so delightfully dramatic), the gentle sweeping romantic moments are swoon worthy and allowed to linger or exist in silence, the tension they create is often feels a little too intrusive to watch and the nuance - so much is said without saying anything at all. Some specific moments are handled with so much care when dealing with really complex emotion and I’m floored to see such young actors achieve some of the moments they do because some of the emotion is genuinely complex. There’s a lot of Teh who is terribly complex and to achieve that balance between difficult to work out and yet still feeling like you understand him is a very tricky thing and yet, that’s what I felt when I watched his character. I am in awe of their abilities to be honest and just found them completely mesmerising from start to finish. I love that a lot of their character traits are established so strongly through acting choices that by the end, when both have come kinda full circle and have learned from the other, you can see the OTHER in the OTHER, if that makes sense! Teh in the final few scenes takes on some of Oh’s characteristics. It’s so noticeable but never oversold. Perfect.I can’t overstate this enough! Some moments left me breathless for so many reasons.

My mum lived in Thailand for a while and in Phuket where the show is set and I loved seeing stuff I recognised from a few of her photographs. I felt I learned a lot about Thai culture too, stuff my mum would have learned and I adored the world surrounding these characters! Btw, if I get anything incorrect re: the culture - come shout at me! :)

The music. Knowing that the soundtrack was written for the show and sung mostly by the two leads was such a surprise because they are beautiful songs. The score is, and I cannot emphasise this enough, bloody gorgeous. There are parts where they play the most gentle soft piano music that kinda breaks my heart and others when they perfectly place the most uplifting soaring sounds that enhance some simple scenes so much that they felt so impactful. There’s a song on the score called Skyline Minimal which is used in a specific scene and in the documentary the director talks about how just the sound of it, you don’t need the lyrics, it just makes you miss someone and makes you cry and he’s absolutely spot on so that when you hear it, what happens on screen just shatters your heart. The soundtrack is woven into the storyline so deeply that the lyrics are used, the melody is used to trigger Oh-aew’s memories at one point and the pretend source of the main song, Skyline, is directly linked to not only the idea of learning Chinese and what that means for them both as characters and as a pair but two of the main themes of the season, ambition and identity!

The cinematography. Christ on a bike. I could write essays. I am a sucker for meaningful camera work, stuff that does half of the storytelling for you and I cannot praise this more highly other than to say it’s close to perfect. Some moments are so absolutely mesmerising and meaningful that a simple movement or a simple peek at something means a LOT. I’m going to have to write a whole damn post on some of my favourite moments because I can count on one hand the shows/movies of late that I’ve seen that achieve what this show does with camera work, directorial choices and general approach to non-verbal story telling. The level of thought and detail and using a camera in a creative and loving way... I found it so moving and so beautiful the way you could feel the level of consideration that went into the smallest moments, how entire moments of character development were done silently…

The use of metaphor. Anyone who knows me knows I am absolutely WEAK for this stuff. If a good complex emotion or concept can be developed in a way other than with words then I am yours… I will read into everything, enjoy every clever reference and revel in the use of colour or light or sound or motif. This show was a gift in that sense. I’m going to end up writing posts about stuff like the use of colour and the hibiscus flower and coconuts and the use of Chinese words. Again, some moments were so genuinely beautifully done and unexpected that I was like a kid in a sweetshop and was a little swoony over them. There are some moments when the Chinese phrases/words are used through their tutoring in a way to sum up the character’s feelings, moments are built up to by establishing motifs that, when used to their conclusion make for the most BEAUTIFUL or gut wrenching moments. The hibiscus flower scene/colouring in may be one of my most favourite scenes in the whole show and I just smile thinking of how wonderfully it was developed.

Another thing I truly adored was how I genuinely loved every single character. There’s no demonisation, no discarding of characters at the expense of others (especially as I hate when women in movies are treated this way when there’s no reason to), no characters who are used as scapegoats. If anything, you come out adoring the characters who traditionally “get in the way” of a pairing because, well, they don’t. They don’t feel in the way or an annoyance. They feel genuine and lovely and you root for them. That’s a really really kind way to treat your characters but, above anything, it’s just lovely to see that much consideration given to characters to treat them all as humans. I get a little sick of seeing ‘bad guys’, you know? I like flawed, messy but human people. Hoon as a big brother is so understated but when he appears and when it matters, some of his moments are so genuinely emotional it’s amazing how they allow him to be a typical brother, kinda dismissive and teasing his younger sibling but then he’s THERE and really fully there for his brother in some truly significant moments. It felt so earned for me and goodness, one moment kills me when Teh is full on in the middle of a family fight, sobbing and confused and in a room of them all, Hoon goes directly to his brother and the simple way it happens had me in bits. Apparently, that was an improvised scene too so it makes it a little special.

The ending. Any LGBT+ soul out there knows the pain of watching another miserable ending and, don’t get me wrong, I’m ALL FOR endings where you don’t necessarily get what you WANT but only ones that make sense and are earned so they make you think or realise you don’t NEED what you want etc. BUT also want happiness and hope and love and watching LGBT+ characters thrive. Not to spoil, but they treat these two very well by the end… you just have to make your way through a box of tissues first!

So yeah, it was alright. Hahahaha. I genuinely think it’s a masterpiece. I feel the love and care that went into it, the time taken to consider and think and find ways to say a LOT by saying very LITTLE. I feel the commitment to LGBT+ media, little nods to other shows/moments… I feel their wish to be original and to try to make new characters feel fresh and unseen. I just adored it and I’m so grateful it exists because as a piece of art, when you finish it and can write legit essays (and I’ve seen posts other people have written and I’m in NO WAY the only one here) then you know you’ve done something kinda special! So that’s me, getting my whole bunch of nonsense down… and now I can make specific posts and ramble a whole bunch more! Mwahaha.

#itsay #i told sunset about you #thoughts etc

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allthefilmsiveseenforfree · 4 years

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1917

I’m not a big war movie buff, but I’ve been excited to see this film from the moment I heard the words “Sam Mendes.” Skyfall is one of my favorite movies of all time, and my hopes for this were SKY HIGH (get it? You get it). However, I know a lot of people think that the one continuous shot thing is a gimmick that obscures the larger story. And at this point, how much more is there to say about the nature of war? Well...

The themes may not be new, but we all need a good reminder now and again, and this one is wrapped up in the prettiest, most beautifully executed razor sharp package you could ask for. 1917 is the tale of two lance corporals, Blake (Dean Charles-Chapman) and Schofield (George MacKay) who are tasked with a nigh-impossible mission: to get a message across no man’s land and beyond the German lines to a group of infantrymen who are poised to attack at dawn (about 16 hours from now) because new intelligence confirms that those men are walking into a German trap. If they do not receive the General’s orders to stand down, 1600 men will be killed for no good reason at all, as opposed to the very good reason they were all there in the first place, you see.

What follows is a harrowing trip through the trenches, across no man’s land, and into the French countryside as the corporals try to reach the infantry in time and stop the attack, and save the lives of those 1600 men, including corporal Blake’s brother - and it’s all done as one long single tracking shot.

Some thoughts:

Goddamn Sam Mendes knows where to put a camera. I know it’s not all him, and that Roger Deakins’ cinematography is also to thank here, but just. GODDAMN. There are shots in this that are so gorgeous I want to compose poems in their honor. It’s a delicate balance between the camera disappearing so as not to call attention to the gimmick/the camera deliberately reminding you that this is happening in real time, that these moments are passing by quicker and quicker and the world is literally on fire and all we can do is just keep moving forward. I know it doesn’t work for some people, but great googily moogily did it work for me.

The tension in the film starts as soon as Black and Schofield enter the tent to receive their orders, and it doesn’t let up after that. Oh sure, there are quiet interludes, and there are moments when the horrors of war aren’t directly being pushed into your eyeballs, but even in the background the score, the lighting, every micro-expression that crosses our actors’ faces, they all remind you that time is a luxury and it is running out.

Speaking of, Thomas Newman’s score is great - unobtrusive but pulsing.

Having seen They Shall Not Grow Old (which, if you haven’t seen it, is an absolutely INCREDIBLE documentary), the recreation of all the trenches is so perfect and detailed, and you really get the sense of their scope and scale as Blake and Schofield are making their way through the labyrinthine tunnels.

There is a Very Good Dog sighting! Which is, in fact, period accurate, because there were lots of stray dogs that the soldiers took in and made friends with during their down time in the trenches.

For those of you sensitive to harm coming to animals, there is some pretty disturbing and graphic footage of some deceased horses and a deceased dog :(

Oh sweet jesus there’s some body horror for real, Sam Mendes is not shy about showing the horrors of war and the indignities done to the human body when there is so much carnage that we can’t honor our dead.

Did I Cry? I was doing ok. Things were, you know, upsetting but fine. And then the line “Talk to me, tell me you know the way” happened and it was raining buckets on my face.

I love these moments of surreality, like the soldier singing this haunting song, or catching glimpses of the photographs the German soldiers left behind. They’re beautiful and absurd and highlight just how outside of reality war is.

Every single British actor is in this and they’re all killing it. Colin Firth doesn’t have a ton to work with, but he gets in, he gets out, and yeah, I’d take a secret suicide mission from him too. Andrew Scott is fantastic - weary, defeated, and furious. Oh hello Mark Strong! Hello Mark Strong in uniform mmmmm. Ol’ Benny Cumbs coming in at the end, looking a little rough around the edges with that scar. He’s got the imposing war voice down, and his jaded outlook feels like the final kill in the world’s bloodiest horror movie. Then at last we have Richard Madden, who goes through more emotions in the 2 minutes he’s onscreen than most people have to in their whole lives.

Did I Cry? Part 2. I don’t even like kids that much, but I challenge YOU not to cry when a traumatized and bloody soldier recites poetry to a baby to get her to quiet down while her city is literally on fucking fire.

My MVP award of the movie has to go to George MacKay’s performance as Schofield though, for real. His task is not an easy one, and he carries a good deal of the movie on his shoulders, growing more and more haunted by the second. More than anything else about this movie, I will remember his face.

It’s not a classic war movie in terms of showing big battles or even being that bloody. Most of the carnage actually comes into play as decay, as things left behind to rot or get buried in the muck and the mud, or bloat lifelessly in a river. But it showcases the battle for our humanity when we subject human beings to the random, senseless cruelty of war better than any war movie I’ve ever seen. The whole time I was watching it, I was reminded of why Wilfred Owen in this English major’s favorite poem of all time. This movie will haunt me the same way the final stanza of “Dulce et Decorum Est” always will:

If in some smothering dreams, you too could pace

Behind the wagon that we flung him in,

And watch the white eyes writhing in his face,

His hanging face, like a devil’s sick of sin;

If you could hear, at every jolt, the blood

Come gargling from the froth-corrupted lungs,

Obscene as cancer, bitter as the cud

Of vile, incurable sores on innocent tongues,—

My friend, you would not tell with such high zest

To children ardent for some desperate glory,

The old Lie: Dulce et decorum est

Pro patria mori.

Notes:

Latin phrase is from the Roman poet Horace: “It is sweet and fitting to die for one’s country.”

#120in2020 #1917 #1917 film #1917 review #sam mendes #george mackay #dean charles chapman #andrew scott #benedict cumberbatch #richard madden #colin firth #mark strong #movie reviews #film reviews

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dandaelions · 4 years

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hello

After listening to it for the first time, I sat there and cried.

I sat there for a good five minutes. Tears were (and still are) streaming down my face.

I don’t have the words to describe what I’m feeling. I don’t think I’ve ever had such a strong visceral reaction to something before.

I can’t even begin to imagine the whirlwind of emotions Jongdae has been through. I can’t even begin to imagine what this year has been like for him. I can’t even begin to imagine what must’ve been going through his head as he saw the extremes that people drove themselves to. I can’t imagine making the decisions he’s had to make.

The song. Oh, the song. I don’t even feel remotely qualified to critique anything about it. It exceeded every notion I had in my head. Of course, coming from him, this in itself is an expectation. I am beyond thrilled with the way this song turned out. I knew he wouldn’t just be sitting at home doing nothing. This is not something that they threw together in a few days, oh no, this is something that took a lot of time, effort, and love to pull off. I’ve never heard so many key changes in a supposed pop song before. It was an incredibly interesting technique to use and it kept the song sounding fresh and unique- perhaps it’s to mirror the tumultuous highs and lows of this year. The instrumentals are absolutely gorgeous, especially during the intro, and this acoustic, organic style absolutely fits him to a T. And then there’s his singing. Oh my god. His angel voice brought me tears within the first few seconds. If there was any doubt about his standing among the vocal legends of Korea, he made sure to obliterate it to pieces. I don’t know what else to say, what else to praise, that hasn’t already been said yet. This man takes my breath away every time he opens his mouth. I could listen to him sing forever. My god.

I can’t talk about the song without talking about the lyrics. This is songwriting at its finest. The double-entendre works so beautifully and so effortlessly. It’s a message to us, the fans, and his daughter as well. If this is how I feel as a fan, then I can’t imagine how his daughter must feel when she gets older and learns about the message of this song, knowing the sacrifices that her father has made for her and the absolute love that pours out every fiber of his being. I’m tearing up again.

The music video itself - perfection. The set design, the special effects, the cinematography, the color changes - none of it distracts from the song. Everything is so artfully done and every detail adds to the narrative. When things start floating up in the air and he’s knocked back, I think this mirrors how he must have felt when he got the news that he’s going to be a father, the feeling of falling while staying still, like the whole world around him has changed. Then the transition to the scene where his path builds itself in front of him, leading him out into the open to witness a new dawn - the meaning of this is clear.

I feel so lucky and blessed to call myself his fan. I’ve never regretted making that decision one bit. I am in awe of his inner strength and stability and it is so brave of him of put out this song. If there is a person who I think deserves all of my support, it’s him. And I will gladly provide it.

Hello Jongdae. It’s so nice to have you back.

#album thoughts

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weasley-gal · 4 years

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Cindy’s Top Ten Movies of 2019!

Ahhh...2019. In the interest of building suspense, I could be all cagey about this countdown, but let's face it: For me, 2019 was the Year of Rocketman. As lousy as the real-world year was, it was salvaged by Rocketman. Someone suggested in jest (maybe?) that Rocketman should be numbers one through ten on my year-end list, and that would be fair enough; HOWEVER...I did like some other movies this year, so I'm gonna give you--yes YOU, dear reader(s)--ten of my favorites. Just know in your hearts that the other nine fall way behind number one. Way, WAY behind.

The usual disclaimers:

A movie's position on my year-end list does not necessarily reflect its original Weasley score. Some films age well, bear up, and even improve under repeat viewings. Some...well...some do not. Also, I live in a rinky-dink town, so great movies like JoJo Rabbit and 1917--pictures that almost certainly would have found spots here or gotten very close--have not made themselves available to me yet. This is disappointing, but unsurprising. I'd hung my entire holiday break on the prospect of seeing 1917, only to discover on Christmas Day that its Christmas opening was limited release, and I have to wait until January 10th. Humbug. Finally, I think three or four of these movies already made Variety's "worst of" list for 2019, so kindly do not be too shocked when I diverge from The Serious Critics (TM).

Without further ado, presenting my top ten films of 2019:

TEN

"The most important qualification for any leader is not wanting to be leader."

THE TWO POPES

2019 threw me a nice surprise on its way out the celestial door, with the Netflix original The Two Popes. It's a deliberate, thoughtful, and timely film carried by a pair of the year's most exquisite performances: Jonathan Pryce as Pope Francis and Anthony Hopkins as Pope Benedict XVI. While the subject matter is weighty, this movie is an absolute delight.

NINE

"I'm glad I'm a revelation and not a disappointment."

DOWNTON ABBEY

This big-screen adaptation of the popular television series Downton Abbey, is, in fact, something of a revelation. A totally new story in the familiar and much-loved setting, with just the right amount of fan service, it is a joyful exercise that hits nearly every note perfectly. Making its case for the big screen are breathtaking costumes and production design...and Mr. Barrow finally seeing a bit of happiness doesn't hurt, either.

EIGHT

"We're gonna bury Ferrari at Le Mans."

FORD V FERRARI

At a glance, Ford v Ferrari might seem like a film appealing exclusively to car enthusiasts; however, that assumption does a great disservice to both the film and the viewer. Ford v Ferrari is an inspiring story about people. It's a nail-biter from start to finish, it has heart to spare, and it's fronted by great turns from Matt Damon and Christian Bale. Beautifully filmed race action makes this one to see on the biggest screen you can find.

SEVEN

"It always fits...eventually."

SPIDER-MAN: INTO THE SPIDER-VERSE

Technically, Spider-Man: Into the Spider-Verse is a last-year movie, but for me it's a this-year movie, and--despite its being the very first film I saw way back in January, 2019--it's far too great to leave off my best-of list. A Marvel property in the hands of Sony, Spider-Verse is smart, funny, touching, and better than the entire Avengers catalog combined.

SIX

"This is a twisted web, and we are not finished untangling it, not yet."

KNIVES OUT

Knives Out is a great piece of original cinema crafted from artful twists, clever humor, and terrific performances, layered with a gorgeous Gothic setting and an ominous score. Written and directed by Rian Johnson, this perfect murder mystery is a huge creative and financial win for the cinema, and I recommend it without hesitation or qualification.

FIVE

"This is the worst...and best...and most terrible...excellent thing that's ever happened to me!"

THE KID WHO WOULD BE KING

Hands up if you missed the Kid Who Would Be King at your local cinema? Yeah, I see you, ALL of you. The good news is that one of the year's most wonderful pictures is now available for streaming and download, and you shouldn't make the same mistake twice. The Kid Who Would Be King is a charming movie, great fun for people of all ages. Truly one of the year's best.

FOUR

"Si vis pacem, para bellum."

JOHN WICK: CHAPTER 3 — PARABELLUM

The John Wick franchise has become quite the phenomenon, and deservedly so. Continually upping the action ante in Fast-and-Furious-like fashion, these movies are so much more than just your garden-variety shoot 'em ups and beat 'em ups. John Wick is the role Keanu Reeves was born to play, and Parabellum raises the stakes for Wick while doubling down on masterful fight choreography and stunning cinematography. Here's to many more adventures for John Wick!

THREE

"Bruce is the direct line to all that's true in this world!"

BLINDED BY THE LIGHT

Blinded by the Light is another terrific picture that didn't exactly set the box office on fire. Inspired by the true story of one Springsteen superfan, and built on the Boss's epic catalog, it's a hopeful tale about overcoming prejudice and the limitations set for us by ourselves and by others, one of the year's most inspiring movies.

TWO

"Tell the truth to everyone, whenever you can."

YESTERDAY

Yesterday is yet another of 2019's under-appreciated gems, a beautiful, unique movie fashioned around the timeless music of the Beatles. Himesh Patel is a delight in the lead, and--while the premise requires suspension of disbelief--Yesterday is a charming picture that captivates with its "what ifs?" as well as its iconic soundtrack and enchanting cast.

ONE

"You were never ordinary."

ROCKETMAN

My number one movie of the year, and of the decade, was set on May 31st, when I saw Rocketman for the first time. I saw the movie at least twice a week as long as it was at my local cinema. I've watched at least part of it every day since it became available for home viewing. Outside of a week or so around each of the wonderful concerts I saw this summer, I've listened to nothing but the Rocketman soundtrack since the end of May. My phone and all my desktops have Rocketman wallpapers. I've joked (hmm?) that I only speak Rocketman now. The truth is, I'm not interested in speaking anything else. Pre-Rocketman, it had been a decade since a new movie made its way into my all-time top ten. Then there was Rocketman. Pre-Rocketman, my favorite acting performance hadn't changed since 1993. Then there was Taron Egerton's astonishing turn as Elton John. Pre-Rocketman, I was finding reasons to stay away from the movies. Then there was Dexter Fletcher showing us the beauty of real imagination. Rocketman is more than just a well-crafted film that reflects on an iconic artist's inspiring life. It is a film that uses Elton John's art to tell his story in fantastic, creative fashion. It is a film that uses exquisite detail in its styling and costumes to further its vision. It is a film that draws something sparkling and new out of a classic discography. It is a film that is not bound by dull, linear timelines or small minds. It is a film that surrounds a performance for the ages with others that bear it up. It is a film that shows, however dark the times, you will find the light. In doing all these things, it is a film that is saving lives. Rocketman is a film that is, in every way, magnificent. Thank you, Dexter Fletcher and company, for giving us this beautiful movie. Whatever the critics say and whoever wins the prizes as Awards Season bears down upon us, nobody has done anything more valuable this cinema year.

A few Honorable (and Dis-Honorable) Mentions:

While Taron Egerton deserves all the awards, all the time, for his work in Rocketman, there were some other performances this year that also gave me life:

Jamie Bell (Rocketman): Without Bell's Bernie Taupin as his stalwart cornerstone, Egerton's Elton could not have flown. It's a lovely, understated performance that has been grossly underappreciated.

Tom Holland (Marvel Cinematic Universe): Holland is a real gem, a standout who consistently steals the show from bigger names who get weightier work in the MCU. No matter how good, bad, or painfully bloated the movie, Holland is an absolute delight.

Renee Zellweger (Judy): Who knew it was even possible for me to stop hating Renee Zellweger? Well played, 2019.

Rebecca Ferguson (The Kid Who Would Be King/Doctor Sleep): There was little I enjoyed more this year than watching Ferguson chew her way through this pair of pictures. Oh, and if I start walking around wearing a hat, don't ask, m-kay?

Chris Evans (Knives Out): God, I love seeing Chris Evans do *anything* besides Captain America. Bonus points if he gets to be funny. He's really funny, despite his obscenely gorgeous mug.

John Boyega/Oscar Isaac (Star Wars: Episode IX — The Rise of Skywalker): These two, individually and together, draw joy out of what's otherwise a fairly mundane exercise. If Finn and Poe somehow jumped to another saga in the Star Wars universe, I wouldn't complain.

The Cast of Jumanji: The Next Level: Top to bottom, a perfectly cast film, and a lesson in how the right actors can elevate any property.

As a matter of interest, if you watch the Irishman and Once Upon a Time in Hollywood back to back, you can effectively calculate how many hours you'll wish you had back when you're on your deathbed.

I would like a word with Gary Oldman's and Sebastian Stan's agents, please.

Cats: Make. It. Stop. Please, just...make it stop.

As this most challenging year winds to a close, I wanted to offer a sincere thank you to everyone who takes the time to read my reviews, and especially those who engage on any of our various platforms. Special thanks to Daniel for allowing me to be a part of his great page, and for tolerating my unceasing randomness. (Hotel Transylvania 4 in 2021, my friend!) I take no one's support for granted, and I’m ever grateful for you all. I wish our readers many blessings as this festive season comes to a close and we roll into 2020. See you at the movies!

#movies #top ten #rocketman #yesterday #blinded by the light #john wick #the kid who would be king #knives out #spider-man #into the spider-verse #ford v ferrari #downton abbey #the two popes

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mostlymovieswithmax · 5 years

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Midsommar [spoiler review]

Ari Aster has released his second feature film, Midsommar for which he writes and directs and it is a vast, expansive experience that threw me through a kaleidoscope of emotions, which amazingly is something I can’t say for a large number of horror movies coming out these days. That being said however, I’m not entirely sure that I could confidently class Midsommar as a horror. I don’t know if I’d really class it as any specific genre at all. It is certainly its own beast and for that, I would commend it highly. As something that is so dense with detail I will probably be jumping back and forth to moments in the story, giving this review a somewhat non-chronological structure. I can’t possibly touch on everything, especially as I’ve only seen it once. I believe it is something that needs multiple experiences to fully appreciate and is a movie I’d love to experience again.

The talent on display in regards to basically every technical aspect of the film is to be praised tremendously. I loved the cinematography and the look of the movie; the colours and the sets were all gorgeous. Mostly set in broad daylight, this stylistic choice is not something I’d immediately associate with a movie that was going for this type of vibe. Mixed with the set designs, the look of the movie made for a visual feast I couldn’t keep my eyes off of. What made the aesthetic qualities of the movie pop that little bit extra for me was the camera work and how it moved; I think of shots like when Dani goes into the bathroom in the first act and the camera pans over the door frame and twists to show her standing in the toilet of the plane. Or when they’re driving across Sweden and the camera flies over the car and turns to end up in an upside down position, perhaps foreshadowing what the characters are in for on this journey. It’s details like this that cracked a huge smile from me as I was watching, not to mention it separates Midsommar from so many other movies that try to depict suspense and terror. Furthermore, a feature that I found to be intensely thoughtful to accompany the fantastic visual display was the editing, or more specifically the cutting of shots. Often I see movies follow a certain formula when it comes to this facet; conversations cut together with a shot of one character and then a reverse shot to show another character; wide angles to establish locations or buildings, then cutting to the inside of the buildings themselves. There’s seldom ever much of a flare to the editing of a movie but I saw Midsommar capture that charmingly to add tension or even to highlight a joke. Accompanied by the score, a lot of these shots gave off an eerie tone that made me feel pleasantly uncomfortable. I loved the low, stretched out notes of the music that went that extra step further in order to make me feel slightly distressed. The sound design was incredible and generally it isn’t a facet I’d pick up on unless it was either done very well or very poorly. There were sections where even items like cutlery or people walking would catch my ear in a noticeably pleasing way. It shouldn’t be undervalued at all; great sound design can elevate a movie so much and I’m both glad and impressed at how well it was executed here.

Midsommar’s first act may have unfortunately contained a lot of my favourite moments. It introduced the main characters and worked to convey the relationships between Dani and Christian, as well as with Christian and his friends and how they all felt about Dani. I appreciated the time put into the dynamic between Christian and his friends and how they viewed Dani, although this was sort of thrown away once they got to Sweden; I never saw any sort of resentment from them towards Dani after that. Pelle obviously felt a lot differently about Dani, going as far as to kiss her during the latter stages of the movie. I’m not sure why it was necessary to have Pelle feel this way and I don’t understand what it added to the story besides forcing some conflict into Dani’s relationship with Christian, which was being achieved on his end regardless. Along with this, we are also shown the unfortunate and upsetting demise of Dani’s family which acts as a plot point in helping Dani to decide upon accompanying Christian and his friends to Europe. Seeing what happens to Dani’s family may have been the most affecting part of the movie for me. To top it off, her reaction was absolutely chilling; I love how Aster gets such raw and believable performances in his films. Dani’s loud, pained cries made me feel for her so much and forced a deep discomfort into me that carried through as the credits and title came on screen. Something that intrigued me quite a bit during this first act is how conversations were filmed through mirrors. We would see a couple of instances of characters talking to other characters that were reflected in a mirror. These static shots that carried on for a short while added to the tense atmosphere and the conversations or arguments that were taking place, imposing a kind of separation between those we could see outside the mirror and those we see inside the mirror. The main cast we’re introduced to in America are all good and give believable and compelling performances. Florence Pugh was fantastic as Dani; William Jackson Harper was decent; Will Poulter was great and one of the stand-outs from my experience. Vilhelm Blomgren portrayed quite an interesting character in Pelle. Christian seemed to be the only one that rubbed me the wrong way because he was such a massive dick the entire time and he was never redeemed. Not to say Jack Reynor’s acting was bad (quite the opposite in fact), I just didn’t sympathise with the character. There are aspects to the characters and the decisions they make that wound me up a bit but in terms of the acting, they were more or less solid.

The secondary characters, or mainly the Swedish locals didn’t stand out as individuals to me, possibly because they were portrayed more as a collective, which is fine but I would’ve liked to have seen some character development from at least a couple of them. Now, I say it’s unfortunate that I derived the most entertainment out of this first act because after that, Midsommar suffers quite a bit from some pacing issues. This movie is almost two and a half hours long and it didn’t feel like it needed to be, especially with a plot that only allows for so much exploration. The plot itself is quite basic, but it is displayed as something so grandiose in scope that it comes across as being eminently pretentious. Could it be the insanely short production time that went into making Midsommar that makes it feel fairly lacking in a few areas? Or is this genuinely the cut that Aster wanted? Results from a quick search of the movie told me that around half an hour of its running time was cut due to the content it presented. Consequently, this will make the home video release different to some degree than the cinema release as it may come to our TV screens as a director’s cut. If this is in fact the case (and I do intend to buy the blu-ray upon its release) then could it be that we’ve not even seen the movie that Ari Aster wanted us to see? Will a director’s cut make it better, worse, or simply just longer? I for one am assuredly excited to see what the end result is.

A big problem I had with Midsommar is how early it peaked in regards to the horror. One of the first things the main characters are presented with upon arriving at this rural community is the idea of people being separated into groups depending on their age: the concept that they didn’t consider themselves adults until a certain age; that they didn’t work until they were old enough to; that they died when they reached a specific year of their life. They’re then told that a ceremony will be held the next day and while our main characters ask what it is, we see William Jackson Harper’s character, Josh smiling in a sly “I know what it is” kind of way. His friends try to ask what he knows, to which he does not divulge anything. What follows this is a scene wherein two elderly people sacrifice themselves by falling off of a cliff in front of the other members of the community. To me, this scene was beautifully unsettling for a number of reasons. Despite expecting them to jump initially, I was still shocked at how well it was executed both in relation to the story and in a technical sense. At first, the woman jumps off of the cliff, dying instantly with a bloodcurdling crunch. Of course the characters from America and the characters we are introduced to earlier from England are understandably shocked. Even Josh reels back in surprise which I found to be a little strange considering how he acted as though he knew what was going on beforehand. What did he think was going to happen if not that? We’re never told. As the old man approaches the edge of the cliff and the English and Americans clue in to what is happening, they react as I’m sure we all would to what happens as he prepares to jump. He lands in a much more awkward fashion with a smaller sound that is no less distressing. Only this time, he doesn’t die... The scene is then racked up a notch as he screams out in pain at having his leg torn off and his body broken on impact. The rest of the Swedish onlookers scream in pain with him and it is terrifying to hear. I imagine this painted a picture to most viewers that the locals we are presented with in this rural Swedish village are all somewhat spiritually connected; are able to empathise with one another's emotions in a way that makes them able to feel the sensations of those they’re close to. Undoubtedly the torment doesn’t stop there and Aster has to quite literally hammer home what this ceremony is all about. In order to put the old man out of his misery, a group of people take it in turns to smash his head in with a large mallet, causing further stress to the main characters, but stopping all of the Swedish inhabitants from screaming in agony. That whole scene… was awesome! I loved it and it stands to be maybe my favourite sequence from the movie. The unfortunate part is that after this happens, I expected everything to amp up a bit and start showing me more uncomfortable and fucked up things but sadly this wasn’t the case. In a sense, it was as if the movie blew its load on this earlier scene and didn’t focus on too many other stand-out plot beats which was pretty disappointing. For some reason, Will Poulter’s character ‘Mark’ had slept through this ceremony and as a result, hadn’t experienced what his friends had. Whether this was done for a specific reason I’m not picking up on or simply so that he could continue to crack jokes is beyond me. I will give credit where credit is due: this movie made me laugh when it wanted me to. The inclusion of comedy in Midsommar was expertly handled and never made it come across as a lame horror-comedy.

Prior to this and upon arriving in the green fields of rural Sweden, the protagonists all get high and lie around in the grass. While the comedy kicks in here, it is also notable for the reaction of Dani as she starts to feel the grief of losing her family once more and urgently tries to get rid of it. I liked this scene and how it played slightly with the visuals which foreshadowed the inclusion of drugs and their effects later on in the movie. Sadly with what happens to Dani’s family in the first act, I’m not sure it was that purposeful overall, despite liking how it was depicted. Yes, this event does explain how Dani acts for sections of the film and yes I did like seeing it act as a catalyst for why she goes to Sweden in the first place, but I’m not sure it was hugely purposeful when referring to the movie as a whole. It never came back in a way that affected the narrative or the story that was being told. It was just something that happened to the protagonist that caused her a great deal of upset. Almost as if they could have died in any number of terrible circumstances and it wouldn’t have made a difference. While I really liked the characters’ first drug trip sequence, I got worried early on that Midsommar was going to take an approach that put the trips and the drugs at the forefront of the movie, akin to something like Shrooms (which was just awful) and sure, they played a big part but it did more to enhance what was actually happening rather than fabricate a story that didn’t really take place, just to have them wake up in a field exclaiming how crazy their collective trip was.

As the characters start to become more and more under the influence through the drugs that they’re given, we see the world warp around them. Trees ripple and form faces; the food would shift; flowers would pulse in accordance to Dani’s breathing; characters’ facial features would distort. Dani starts seeing grass sprouting from her hands and feet, or vines mimicking her movements to show how she’s progressively becoming part of this society. Characters like Christian however start experiencing the drugs in a negative and more aggressive way, as if they’re being attacked by senses! There is unease and terror in how Christian experiences the festival, whereas Dani’s experience is comparatively happier. The contrast of how Dani was being accepted and Christian was being rejected was thrilling to see, markedly in how Dani’s demeanour changed as she found herself integrating with everyone else. Although I must say I’m not sure why they kept drinking that drugged water that looked like muddy urine. Christian almost refuses to drink it until he’s told “it’s spring water with special properties” which was all the information he needed apparently! What properties were they? Doesn’t matter; he drank it anyway. The moronic decisions manage to manifest more throughout the movie, however. Regrettably we don’t get to see much of Mark and Josh’s experience with the hallucinogens or even much of the festival because their time is cut short in a manner I didn’t find all too entertaining. Mark is the first to go from the original team. Due to urinating on a sacred tree, he is murdered off-screen and has his face cut off. This could’ve made for a superb scene if it were done right but the way it was handled came across as hollow. Elements akin to this could have worked to convey unease and terror, but they are implied rather than shown which can work in some circumstances but I would’ve liked to have seen something more memorable and haunting instead of seeing an after-product and thinking “okay well I guess that happened”. Show him being mutilated, you cowards! You don’t even have to show it; just possibly what happens in the lead up! It would’ve made for a far more compelling story beat! All that happens is a girl comes up to him as he’s eating with everyone and asks to show him something. His response is just “she’s gonna show me” and leaves. He doesn’t question what he’s about to be shown; he just gets up and wanders off with a girl he doesn’t know in a foreign country, going purely off of Pelle’s word that everyone there is great! What a way to force that in! Josh is next on the kill list because he took some pictures of a sacred book when he knew he wasn’t supposed to because either he’s just insensitive to other peoples’ cultures, or he thinks it’s okay as long as it’s for his thesis. After this happened I kind of dropped off. With most of my favourite characters gone and the remaining characters questioning everything less and less, not only was there not much left to ground the film in a world that would consider the things that were happening to be deeply disturbing, but also from the protagonists’ perspectives as well.

I’ll acknowledge I’ve been railing on this film a considerable amount... with good reason. But despite being heavy on the criticisms, I still consider Midsommar to be a good, even great movie! I adore films that beg me to revisit them and learn more about them with each watch. Sprinkled throughout Midsommar are a tonne of small details and I’m sure I didn’t pick up on everything; in fact I hope I didn’t. Along with strange “what the hell?” moments like putting scissors under the baby’s pillow (I think that’s what it was anyway) that I still don’t understand, there also exists things that maybe don’t need to be thought about but are still nice to see included, such as goats and cows that took the immersion into this countryside village a notch higher. Or to draw from more obvious details that add depth to the people: going back to how they would all scream in unison, for instance to empathise with another’s emotions; when Dani sees Christian cheating on her, all the girls she is with cry and scream with her, possibly to experience what she’s feeling and/or to show her that they consider her to be part of their people, which also manages to contrast with earlier in the movie wherein she’s with Christian in her apartment but she’s the only one experiencing the intense pain as Christian tries to comfort her.

Upon entering the third act I started to wonder what the actual point in Midsommar was. Could it possibly be one big metaphor for grief and how we can choose to deal with it? There didn’t seem to be that grand of a point being made, either in the relationship between Dani and Christian, the relationship between America and Europe, or just the presence or influence of cults and religion in different parts of the world; those ideas seemed somewhat surface level. So I can’t help but think it was trying to convey a more metaphorical meaning. Either that or its meaning was just “Europe’s weird, man”. In this way, the finale didn’t leave much of an impact besides leaving me feeling quite hollow and disappointed, wondering what all that had been in service to. I can’t say Midsommar blew me away with much of what it showed me. There were a few decisions made which weren’t all that original in how they were executed and there were some dumb moments that had me questioning why they were included at all. Yet I would never say it isn’t unique in what it achieves; I can’t disregard all of the jaw-dropping technical showmanship and the interesting, creepy ideas that managed to meld horror and suspense and mystery and comedy into something I simply don’t know how to categorise. I could talk for ages about this film and still not touch on absolutely everything about it. Ari Aster is clearly a talented guy and I can’t wait to pick up the blu-ray and watch it a million more times. Along with that, I am for sure going to see whatever he puts out next. These are the kind of movies I love seeing and supporting and I honestly can’t recommend Midsommar enough because it’s something I feel will resonate with different people in different ways, evoking more than a few interpretations of it. It is so worth the watch.

★★★½

#midsommar #midsommar spoilers #dir: ari aster #movie #review

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cookinguptales · 6 years

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SO. Some thoughts on the shorts presentations.

(Note: I only go to the live-action and animated ones; the documentary shorts are harder to see in my city and frankly, they’re often too intense for my current mental health.)

I went to see the shorts yesterday and like I said earlier, I thought the live-action shorts were generally very good and the animated shorts were generally a waste of time and In A Heartbeat was fucking robbed. The live-action shorts were mostly based on true stories, oddly enough, but they were still beautiful.

(This is two years of underwhelming animated nominees and I’m like ughhhh bc some years everything is amazing but recently I’ve not been agreeing with their picks at all.)

I’m about to discuss like 13 shorts, so it’s all under a cut.

Live-Action Shorts

DeKalb Elementary

I have to be honest with you, considering our current political climate, I started crying from the moment this short started until it ended. Like I saw the title come up on the screen and I was like OH NO. The short is based on the real-life school shooting at Ronald E. McNair Discovery Learning Academy, and I teared up just typing that sentence. However, this school had one of the few “happy” endings of a shooting; a receptionist at the school started talking to the shooter and calmed him down until he could admit that he really needed medical help and didn’t want to hurt anyone. She probably saved a lot of lives, and this dramatic interpretation of her 911 call is really deeply touching. The acting was really incredible, and the connection between the two of them was palpable without lessening the terrifying suspense of the moment. A really beautiful and deeply affecting short.

(Though, all that said, I wonder at the decision to create a mostly apolitical short about school shootings in today’s climate…)

(cw: guns, threatened violence, mental health issues)

A Silent Child

Surprise, I cried through this one, too! A Silent Child is a short about a young deaf girl in the UK whose parents refuse to learn sign language or teach it to her. This is a depressingly common experience in real life, and watching this girl’s nanny teach this girl sign language and seeing her really come alive now that she could truly communicate, neither the mother’s jealousy and self-consciousness nor her eventual decision to fire the nanny and forbid her child from ever using sign language again surprised me.

To keep a somewhat objective approach, I do think the end of the short was a bit maudlin; it seemed kind of odd that the girl, in that situation, would choose to sign “I love you” — this seemed more heartstring-yanking than something that felt realistic. That said, the rest of the short was really heartbreakingly realistic. It’s a personal subject for me; deafness runs in my family and my little sister is profoundly deaf. My parents started learning sign language the day she was born and made sure I did, too. I grew up in a truly bilingual household and didn’t understand until I was much older that many hearing parents don’t do this for their children. At first I was sitting in the theater like “well, my parents knew it might be a possibility; they were prepared before she was born” but then it is revealed that the mother in this short knew of a family history as well; her utter self-involvement and ego become more and more clear throughout the course of the story.

The short presents a very complicated familial relationship that felt very foreign and very familiar to me at the same time, and I’ll admit I cried a lot. Despite some shortcomings in the character writing, it really is a very important topic to talk about. I think I would have preferred that the emphasis be a little less on the nanny’s feelings and a little more on the girl, but it was overall a very good short — and notable for using an actual deaf actress and real BSL.

(cw: Ableism, child abuse)

My Nephew Emmett

This is a dramatic retelling of the experiences of Mose Wright as he tried to save his 14-year-old nephew, Emmett Till. If that name is familiar to you (and if it’s not, google this important case — but guard yourself for some deeply upsetting events and imagery) then you can probably figure out about how this short went. The story is a familiar, if horrifying one, but this film is interesting in that it doesn’t show much of the part we’re all familiar with. There isn’t that much graphic violence (IIRC, punching a boy in the stomach, manhandling him, and threatening folks with guns is the extent of it), and the very famous pictures of Emmett Till post-attack are not shown. (Though they are evoked in animation during the credits.)

Instead, this film really focuses on the emotional build-up of the event, and very palpably expresses the horrors and tensions of living during this time period in this place while black. There is some absolutely gorgeous imagery in this short, and some of the images of Mose sitting up all night with a gun, waiting for his nephew to come home, will stay with me forever. The acting and cinematography are top-notch, and there is a sort of dignity to these people that is not always afforded in shorts that can easily become misery porn for fascinated gawkers. Really just beautifully, meaningfully done. Media based on true stories like this can sometimes be wooden or insensitive. This was neither. A familiar story, but a breathtaking short.

(Cw: extreme racism, including racial slurs, violence, child death)

The 11 o’clock

In a year full of strong contenders, this Australian short was a glaring weak point. It’s a film about a psychiatrist who gets a patient who believes he’s a psychiatrist, and the rest of the fairly predictable short is pretty much just who’s on first shenanigans that get annoying very quickly. Also, after the powerful DeKalb Elementary, it felt uncomfortable poking fun at people with mental illness and using personal delusions for comedy.

But hey, at least it was short.

Watu Wote (All of Us)

Though it was a great year, this was probably my favorite of the shorts. As the film introduced itself as being about racial tensions between Christians and Muslims in Kenya, I was kind of bracing myself for some of the frankly racist/xenophobic content I’ve seen in some past years. However, this short was actually about an event in 2015 during which the militant group Al-Shabaab stopped a bus with an eye towards killing the Christians onboard, but were thwarted by the Muslim passengers who protected their Christian co-riders with, quite literally, their lives.

The short follows a Christian woman who is traveling home to visit with her sick mother, and the trip clearly terrifies her. It is later revealed that her husband and child had been killed by anti-Christian radicals years before and she still views Muslims with a large amount of wary mistrust. She clashes with other passengers on the bus, but she is shocked when the bus is pulled over and the Muslim passengers immediately move to protect and hide her. There are some truly tense scenes during which she is hiding from the militants and Muslim passengers are arguing with them about how un-Muslim their actions truly are. The short is not without bloodshed.

The short could have veered into being preachy at any time, but was instead a very raw depiction of these religious and ethnic tensions in this part of the world. While you could not fault the protagonist for being wary after her experiences, a lot of catharsis is felt when she realizes that there is a large difference between the men who killed her family and the terrified yet heroic passengers on her bus. It’s a true story and one respectfully told. I’d heard about the event when it happened, but didn’t know all the details; it was nice to have these heroes (particularly the fallen ones) commemorated in a moving short like this. The acting and directing was incredible, and again, I cried. A lot. I cried through basically this entire shorts presentation with a short break during the psychiatrist one, during which I ???ed a lot.

In a time where there is so much anti-Muslim sentiment in the world, I think this film made a very powerful statement, and I was glad to see it. I cannot believe this was a student film.

(Cw: ethnic/religious discrimination, blood, violence, death, child endangerment, mentions of dead children)

Honestly, this was a very strong year for the live-action shorts, and I would happy if any of the non-Australian shorts won.

Who I think will win: My Nephew Emmett or Watu Wote

Who should win: Very, very narrowly, Watu Wote

Animated Shorts

Negative Space

This is a French stop-motion film, and probably my favorite of the animated shorts this year — not that that’s saying much. It was kind of slight, frankly speaking, but the animation was really inventive and it was a joy to watch, at least, even if it was mostly just a guy relating a brief anecdote about his deceased father. Besides praising the really visually interesting animation, I’ll admit there’s not much to say about this one.

(Cw: death, you see an open-coffin funeral)

Garden Party

Beautiful animation, for the most part, but like. The entire plot is that a bunch of frogs take over this rich guy’s house after he’s murdered, which is…again, not that much of a plot. I guess the main point of it was “nature doesn’t care about riches or human life” and “corpses are funny”, which I’d tend to agree with and disagree with, respectively. While I appreciated the rising tension as you notice all the creepy details of this broken-into house in the background of cute frogs cavorting, the “punchline” of this short, which was a detailed close-up of the prior resident’s mutilated, bloated corpse that’d been sitting in the pool is just like. Pointlessly disgusting, and after watching a short about Emmett Till, it felt almost unconscionably callous. Honestly I was like. Mildly interested for most of it, and completely repelled by the end. People talk about this short’s “dark sense of humor” and I’m mostly just reminded of all those edgy assholes I met in college and was happy to never meet again.

(Cw: violence, very, very grotesquely graphic depictions of a corpse)

Lou

This one is Pixar’s inevitable nomination, and it’s very… Pixar. Idk, this one was kind of fun to watch, had a typical slightly-maudlin moment of sentimentality at the end, but it really wasn’t Pixar’s finest. It’s a pretty slight film about a bully befriending a sentient lost and found and learning to Be A Good Dude along with some stuff about the cycle of bullying that was dealt with too briefly to really be hard-hitting. What was odd to me while watching it is that I found myself thinking “wow, this animation does not seem up to Pixar’s usual standard”, which really surprised me. Like, it’s by no means bad! It just reminds me of the work that Pixar was doing several years ago, y’know? All in all, kind of cute but ultimately forgettable.

Revolting Rhymes, Part 1

(Longer review because this one was a half hour long as opposed to the rest, which were all 5-7 minutes.)

Ugh, okay. So the Academy, in their infinite wisdom, keeps nominating children’s specials for this award. They’re typically long-winded, rhyming adaptations of children’s picture books with subpar animation, and while Revolting Rhymes was better than The Gruffalo or Room on the Broom, I still felt my eyes glazing over. Plus, frankly, I take issue with this “short” even being eligible. It’s not a short. Shorts (in the Oscars) are 40 minutes or less. Revolting Rhymes is a two-episode miniseries that makes up one hour-long children’s program. In other words, if you see this at the short’s presentation, you will only see the first half of the story. (I googled the second half when I got home so I could properly review it.) They just split it into two; that doesn’t make it two discrete shorts. But I digress.

So this is your typical fairy tale retelling, and while I liked some aspects of it, others were trite and overdone. It was fun seeing Red Riding Hood go full vigilante, I suppose. It was actually frustrating as hell, especially because of In A Heartbeat’s snub; Revolting Rhymes really seemed like it was about to go to the f/f place with Red and Snow White. I was starting to get interested. These women were fighting for each other, giving each other flowers, embracing, leaning against each other, they eventually move in together… Like it was pretty fucking gay. AND THEN THEY NO HOMO’D IT AT THE END. I even looked up the second half to be completely sure. So that was really going to turn me against this film anyway because there’s nothing more tiring of getting one of those “in the future, they are gal pals and Red grew up and had kids!!” epilogues, especially when an actual queer love story was utterly ignored in favor of subpar shorts.

That aside, though, it’s just overly long, predictable, and kind of dull after a while. Frankly speaking, it’s for children and it doesn’t really have great crossover appeal for adults.

(Cw: pretty intense non-graphic violence, some sexist overtones, no homo-ing)

Dear Basketball

This short is just incomprehensible to me. It’s a short poem by Kobe Bryant that’s animated by the legendary Glen Keane with music by John Williams. Which should tell you how bewilderingly weird this whole scenario is. The whole time I was like “Is this a vanity project? How did he get such talent to sign on for such a self-indulgent little film? Did he just start throwing money around? Are both of these men closet Kobe fans?” Like I really don’t understand what even happened for this film to get made. It was inexplicable.

I guess it’s exactly what you’d expect. Kobe Bryant has written a saccharine poem about how much he has always loved basketball, and how he is now sad he has to give it up. It’s beautifully animated with a sweeping score. I am deeply confused, and cannot understand why this was even nominated in the wake of the #MeToo movement, considering the allegations against Bryant.

*shrugs???*

(And the highly commended shorts. IN A HEARTBEAT DIDN’T EVEN FUCKING MAKE HIGHLY COMMENDED, FUCK THE OSCARS COMMITTEE TBH.)

Lost Property Office

Another short about a lost and found…? I mean, okay, why the fuck not, this year is clearly a debacle anyway. This one was basically about a guy who works for the MTA lost and found, and he’s being let go because no one ever claims anything. The film, to be fair, does have a really interesting visual aesthetic… But the direction it goes in, again, is just kind of like. Okay. Not exactly emotionally gripping.

(Cw: no one actually commits suicide in this, but the short very clearly utilizes imagery that conjures up suicide)

Achoo

Trite little film about a dragon I’m supposed to think is cute but I really thought was kind of gross and annoying. It’s this thing about how this annoying dragon wants to make a fireworks display better than the mean bully dragons and he sneezes goop everywhere and uses chemicals (which feels like cheating..?) and accidentally invents fireworks. It’s always, uh, awkward when there’s a piece of animation that does some cutesy depiction of another culture’s faux “mythology”, and this one really didn’t particularly do it well.

Weeds

Short about a dandelion (I guess? They didn’t really look like dandelions, but oh well.) trying to move from a dead yard to the yard next door full of sprinklers. It dies before it makes it and its seeds float over to the lawn. Then you get some inspirational quote about NEVER GIVING UP and I’m like okay but it died???? It didn’t make it????? Is this some really depressing point about the struggles of immigrant parents or something or did you actually think this was inspirational?

Forgettable.

Who I think will win: Negative Space or Revolting Rhymes Who I think should win: In A Heartbeat

IN A HEARTBEAT WAS ROBBED NEVER FORGIVE NEVER FORGET.

#oscar nominated shorts #long post

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funnythingshere0-blog · 6 years

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Take a Break from the Darkness of the World, and Smile With Our Pick of the Week

New Post has been published on https://funnythingshere.xyz/take-a-break-from-the-darkness-of-the-world-and-smile-with-our-pick-of-the-week/

Take a Break from the Darkness of the World, and Smile With Our Pick of the Week

Plus 13 More New Releases to Watch This Week on Blu-ray/DVD!

Welcome to this week in home video! Click the title to buy a Blu-ray/DVD from Amazon and help support FSR in the process!

Pick of the Week

Savannah Smiles

What is it? Two criminals cross paths with a young runaway and are mistaken for kidnappers.

Why see it? This is one of hell of a sweet movie, and it’s one that has stuck with me over the years as a story of compassion, friendship, and redemption. Young Bridgette Andersen is cute and adorable, but more than that she shows an immense heart and talent. There’s fun here alongside some minor action/suspense, but its core is a story of just how important companionship and human interaction are. Her own life story ended tragically, but the film serves Bridgette well as a reminder of a better and more innocent time.

[Blu-ray/DVD extras: New 2K transfer, documentary, featurette, interview]

The Best

Daphne & Velma

What is it? Before the dog stole all their thunder, two new friends solved mysteries on their own.

Why see it? Scooby Doo isn’t exactly the kind of cartoon you’d expect to have a backstory for its “lesser” characters, but it happened anyway with impressively entertaining results. We meet Daphne and Velma in high school and see them brought together over a mystery involving other students and a wealthy sponsor, and it’s all presented with bright colors, energy, and real wit. It’s a fun and funny movie for young and not-so-young alike that hopefully leads to a whole new franchise. Fans should also seek out director Suzi Yoonessi’s feature debut Dear Lemon Lima (2009) which is fantastic.

[Blu-ray/DVD extras: Featurettes, gag reel]

A Fantastic Woman

What is it? A trans woman struggles to grieve after the death of her lover, but society seems determined to prevent it.

Why see it? Sebastián Lelio’s drama offers a timely look at a sadly timeless issue, and Daniela Vega shines in the lead role. Her character begins the film in love, and after tragedy strikes, she’s forced to face obstacle after obstacle to confirm that love to other people’s satisfaction. There’s a simplicity to it all, but both Vega and her character are such fierce powerhouses offering strength and complexity that the tale becomes highly engaging. Brief moments of fantasy highlight the journey.

[Blu-ray/DVD extras:]

A Fistful of Dollars [KL Studio Classics]

What is it? A Yojimbo remake.

Why see it? Its origin as an Akira Kurosawa “homage” aside, the film finds its own value as a terrific western exploring morality and violence with style, atmosphere, and a memorable Ennio Morricone score. And not for nothing, but it’s also the start of “spaghetti westerns” as we know them and paired Clint Eastwood with Sergio Leone for the first time. Eastwood’s “Man with No Name” is a mysterious presence seemingly more interested in cash than loyalty, and it became a prototype for hundreds of future antiheroes. As they’ve done with a few other classic westerns recently, Kino Lorber presents the film with a beautifully restored picture and numerous extras. One interesting extra here is a prologue added to the film’s network premiere featuring Harry Dean Stanton, an Eastwood double, and a misguided attempt to explain his character’s actions.

[Blu-ray extras: New 4K restoration, commentaries including one by Tim Lucas, interview, Trailers from Hell, outtakes, featurettes, network prologue]

Game Night

What is it? A group of friends sees their calm game night take a turn when one of them is abducted… or is he?

Why see it? This is the best studio comedy in several years, and it’s not even close. The cast is terrific — Jason Bateman, Kyle Chandler, Billy Magnussen, Lamorne Morris, and a stellar Jesse Plemons — with Rachel McAdams killing it and reminding the world that she’s a comic genius, the jokes and gags are smart and numerous, and the direction is remarkably alive and vibrant. Scenes have real energy and visual style, and the script keeps up with sharp story turns and plenty of surprises. It’s just a ridiculously fun time at the movies, and the high replay value (along with the guarantee you’ll want to share it with friends) makes it a movie worth owning.

[Blu-ray/DVD extras: Featurette, gag reel]

Jurassic Park: 25th Anniversary Collection – 4K UltraHD

What is it? Scientists and capitalists think it’s a good idea to create living dinosaurs… four times!

Why see it? A fifth Jurassic Park film is set to open this summer, so a re-issue of past films is to be expected, but happily, rather than simply drop new Blu-rays Universal has upgraded all four existing films to beautiful and often stunning 4K. Steven Spielberg’s original remains the best of the bunch, but all of them display varying degrees of thrills and wonder — and those displays are often jaw-dropping in UltraHD. The discs are loaded with special features, and while none of them are new they still offer up a wealth of detailed information on the franchise’s production.

[4K UltraHD/Blu-ray extras:]

Of Unknown Origin [Scream Factory]

What is it? A Wall Street executive finds the biggest challenge of his life when a persistent rat settles into his fancy condo.

Why see it? There are other rat-focused horror movies, but none are better than George Cosmatos’ early 80s look at obsession and vermin. Peter Weller takes the lead opposite the rat, and the film follows his descent towards madness as the two enter into a battle of wills that threatens to bring the walls down around them. The film walks a fine line between tragic terror and black comedy, and unlike the similarly structured The Vagrant it balances the two pretty damn well. It’s thrilling, funny, and seemingly destined to not end well. Scream Factory’s new Blu looks fantastic, and the commentary featuring director and star is a solid listen.

[Blu-ray/DVD extras: New 2K scan, interviews, commentary]

Vazante

What is it? A young woman in the early 19th century struggles to make a life.

Why see it? The first thing you notice with this black & white beauty is the stunning confidence of Daniela Thomas’ feature debut. Gorgeous cinematography draws viewers into the past, and while pacing is in no rush the characters come to life through their humanity, hope, and misery. The bigger tale being told her is one of colonialism’s effect on culture and women, and while it’s not a film to watch when you’re in the need of some light it’s a film worth watching all the same.

[Blu-ray/DVD extras: Featurettes]

The Rest

The 15:17 to Paris

What is it? The true story of three Americans who helped prevent a terrorist assault while on vacation.

Why see it? Clint Eastwood’s “patriotic” interests have been on display for years now, but his ability to turn it into worthwhile entertainment hits a wall with this absolute turd of a drama. It’s riddled with problems, but the two biggest facing it come down to story and casting. The real event lasted mere moments meaning the dramatic intensity is severely limited. And the three American heroes? They’re playing themselves. These guys deserve praise for their actions, but they are most definitely not actors. Their performances add to the myriad of issues holding the film back from being even remotely interesting, and a flat script sees ridiculous dialogue share the screen with dull flashbacks, bland narratives, and a supporting cast slumming it for a once-great director.

[Blu-ray/DVD extras: Featurettes]

Black Venus [Arrow Academy]

What is it? The true story of an African woman used as an oddity in Victorian London.

Why see it? There’s a stark beauty to Abdellatif Kechiche’s biographical tale of Saartjie Baartman, but it’s constantly at war with the oppression and misery suffered throughout by its lead character. At 162 minutes it becomes something of a hard watch as there’s little respite from the abuse and ignorance she’s subjected to on a daily basis. She’s a curiosity to the people around her, both the elites and the dregs who see her at a freak show, and that becomes the driving force within the film itself — a curiosity as to whether or not she’ll escape this life. It’s a heartbreaking journey, so venture in at your own risk.

[Blu-ray extras: Featurette]

Death Smiles on a Murderer [Arrow Video]

What is it? A woman returns from the dead for vengeance.

Why see it? Joe D’Amato’s filmography is a varied thing, but he’s best known as the director of numerous genre efforts filled with all manner of sleaze and terror including Beyond the Darkness, Porno Holocaust, and several Emanuelle films. This early film features both bloodletting and T&A, but it gives more effort towards atmosphere and mood than his later movies. It’s a story of cruelty that comes back to haunt the cruel, quite literally, and it features a rather sedate performance by Klaus Kinski too.

[Blu-ray/DVD extras: New 2K restoration, commentary by Tim Lucas, interviews, visual essay]

Early Man

What is it? A caveman fights back against the Bronze Age.

Why see it? Nick Park’s (Chicken Run, Shaun the Sheep) features as director and/or writer bring joy through an animation style less frequently used than the usual CG or even hand-drawn, but while they’re less common they’re often far more affecting because of their tangible nature. (Or maybe that’s just me.) His latest is a fun romp, and while many of the jokes will land best with European football fans (and British locals in general) more than enough appeal more broadly to those of us who just enjoy a good underdog story. Toss in some goofy visual gags and a rousing football game to determine it all and you have a solid feature for the whole family.

[Blu-ray/DVD extras: Featurettes]

I Kill Giants

What is it? A girl believes her town is due for an attack by a giant.

Why see it? Fans of the recent A Monster Calls will enjoy this drama with a tease of fantasy as its story feels very reminiscent as a pre-teen with a rich imagination struggles with bullies at school and a sick parent at home. As YA adventures go this one leans towards the dramatic, but the performances make it work even if it grows a bit heavy-handed at times. There’s power to the ending, though, and it’s ultimately an important tale for kids and young teens.

[Blu-ray/DVD extras: Featurettes]

Red Sparrow

What is it? A young Russian woman is trained to be a saucy spy (of sorts) but runs into trouble.

Why see it? Jennifer Lawrence takes center stage as the “sparrow” while Joel Edgerton plays a CIA agent who crosses her path. Performances and visuals are strong across the board, but at 140 minutes the film is something of a cruel and slow-moving slog. Action is minimal — it’s no Atomic Blonde — and an excessive amount of time is spent highlighting mean, degrading methods used to keep people in line. It wraps up nicely, but the journey is a challenge. It basically comes down to the performances and the period feel, but if you’re looking for more than that, say a fresh take or engaging story, you’re out of luck.

[Blu-ray/DVD extras: Featurettes, commentary, deleted scenes]

Wild at Heart [Shout Select]

What is it? Young lovers go on the run.

Why see it? David Lynch’s films are almost always strange, stylistic tales, and this story of forbidden love, gruesome violence, hazy sex, and a road trip is no exception. Nicolas Cage and Laura Dern headline, and while the former channels Elvis for the umpteenth time of his career Dern stands apart with an electric performance capturing youthful abandon. That said, as with most Lynch films, this one just doesn’t hold together for me. His style of excess and exaggeration leaves me cold. I’m clearly in the minority, though, so for the rest of you this new Blu-ray is a recommended pickup.

[Blu-ray extras: Interviews, deleted scenes, documentary, featurettes]

Also out this week:

Beyond the Hills [Criterion Collection], The Bloodthirsty Trilogy, Frank & Eva, Graduation [Criterion Collection], Mishima: A Life in Four Chapters [Criterion Collection], Night Zero, The Party, Swung, The Vampire and the Ballerina [Scream Factory]

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skamamoroma · 4 years

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What do you think of season 5 so far? I’d love to hear your thoughts! Sending lots of love to you meg for always being a light in the Skam fandom

Ah thank you, love! ❤️ that’s so kind of you

Oh I love it. So far! (Always cautious hahaha)

I am so damn impressed, honestly. So far, I really don’t have anything negative to say, not that I focus on that anyway. I don’t have any concerns. I am just 100% with Arthur, really really enjoying every moment and if they continue how they’re going, this season has the potential to be one of my favourites from the Skam universe

I mean, everything is great so far. They’ve really thought about the topic and the story. You can tell they’ve researched well and are taking the topic seriously. I’ve read multiple lovely posts by HoH or D/deaf folks who are impressed and happy with how the topic is being handled and that’s so very important. I learned BSL for a long time to help me communicate for a specific role I had and I have experience with the Deaf community and it was a total joy in my life so I love that there is so much respect here

Arthur is an interesting dude. He’s a bit of an enigma! He’s sweet and funny and silly and yet also sassy and bold and a little rebellious. He’s snappy and can lean towards anger sometimes. He’s a truly great friend and loves people hard, plus he’s nerdy as hell. He’s sarcastic too and I am always soft for sarcastic souls. I wasn’t initially sure about Arthur as a choice for s5 despite thinking it was genius to choose an original character but I am absolutely thrilled they chose him because he’s a great mix and he’s interesting!!

There’s intrigue. Skam needs mystery and a little drama. It needs the audience to be curious and involved and wanting to know more about the main. There’s plenty of that: with Arthur’s dad, with his hearing loss, with the new folks he saw at the swimming pool, with how his friends will react to stuff, with Alexia, with his future dreams...

The acting is stellar. So far, Robin is impressing the heck out of me. He’s moving and made me tear up but he also unsettles me and then two seconds later I’m wanting to squish him he’s so cute...! Perfect as a main Skam character!!

The cinematography and the quality is clearly incredible. It looks like they have more money and a lot of the camera work seems so considered in a way it hasn’t before (to the same degree anyway). There are some folks who aren’t keen on Skam France’s more cinematic style but I’m a fan (I like how all the remakes bring their own style) and this season seems so polished so far. Those shots with Arthur in the snow, for example, were just so so beautifully done, and the swimming pool scene. Plus, clips are coming regularly!!! It feels kinda like wtfock... I don’t feel starved for content because stuff is so regular!

The music is improved too! We had an actual SONG 😂 in Skam France! Hahaha. They clearly have a little more money.

The new characters of Arthur’s mamma and dad are great and they fit well. There are more new characters to experience but if they are introduced as seamlessly then they’ll be fab. I love that they created such dynamic socials for them and that they clearly come as a pair. It’s going to be cool getting to know them!

The social media for Skam France, I always enjoyed. Yeah some of it wasn’t ideal like the 5000 shots of Eliott and Lucas from one day where they didn’t change their clothes 😂 but I found the Eliott stuff to be so fun and immersive from s3 and it’s clear they appreciate the social stuff and have fun with it and it seems they’ve stepped up their game! It’s even added to the show aka the insta story the other day which Skam France never used to do

There are some truly GORGEOUS details. They’ve taken the time and passion they have about these characters and added those Skam-esque details which are, for me, so important. Like Arthur’s calendar where he’s clearly crossing off the days he can’t hear (it hasn’t even been mentioned in the show but they keep making a point of showing it), the stuff in Eliott/Lucas’ apartment which is even furthering their story despite them being background characters, Alexia’s room with the little pride flags and her lovely creative personality...

And lastly, the relationships and group dynamics. With any season, there’s always that frustration the audience have when the show runner has to try to develop or introduce stuff for other characters while telling the story of the main. Some remakes/seasons have done it very well (I felt Wtfock s3 really did that quite well) and some hardly do it at all (skam it tend not to do it much as their POV is so strong) and some make a point of doing it (Druck) etc. Skam Fr always had a few issues in the past especially during Lucas’ season where it didn’t flow as nicely as it could have (some moments did aka Manon and Lucas on the sofa when they cried together) but some were so shoehorned sadly. This season, those group moments and the time given to other characters hasn’t felt forced. They’ve used screen time to add in hints and moments rather than dedicating huge clips to stuff (which may change but I’m talking so far). Audiences are intelligent. We’ve picked up on Daphne’s behaviour, we got info about Eliott in a really organic way which involved Arthur, we see Lucas in his newfound confidence and relationship through socials and as were spending time in his new home, we’ve got background of Imane and Sofiane showing they’re good but also adding in Imane’s future intentions etc! All of that was done withou really taking any significant time of focus away from Arthur.

Not to mention the group dynamic feels tighter and more meaningful. Early on, I had such an issue with the Skam France boys as a group. I mean, after Skam It and my love for those boys, I felt they had so much to work with and during Lucas’ season I struggled with them all... but over time I think they’ve got to grips with who they are and how they connect and I genuinely believe their friendship now. I see their different dynamics within the group, I understand why they’re close, we’ve seen them learn and develop... they feel cohesive and warm. Eliott is now included which is a so lovely and he adds something different too... and then we have Alexia more prominent who, as a remake of Chris, had the potential to be the comic relief but I’m so so happy she isn’t and she is being treated with love and care and given depth.

I’ve made posts about this but because of the history and shared experiences between the characters, they really do feel much stronger and I have a real sense that I know them... so you come to this season already feeling you know how they’d react and what they’d think and you know they’ve got new perspectives due to their own experiences... and Skam Fr appears to be running with that and not taking them backwards which I am SO PLEASED about.

Plus, that glorious POV shift always changes a few things and because of it we see a few really interesting things. We see Alexia in a new light, we see how important Lucas is to Arthur, we feel fond of Basile because of his love for Arthur, we see why Arthur always had that sunshine response to his friends and their successes - because they’re his safe space and his source of peace and happiness and brightness. We saw that all over his face in the warehouse when he was being cuddled by them.

All in all. I’m a little stunned at how great it is so far. I’m remaining cautious because who knows but I am giddy that this is a new and original season and so far looks like it’s working so damn well. I love it a lot and I think the over-riding feeling is the love that the show has for the format, the characters, the actors and the stories... I have a feeling this is David’s influence. He gives a shit. He cares. It really shows ❤️

#skam france #sorry this is so long #read mores done work on phones!#thoughts etc #arthur broussard #sf s5

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