Of Choice and Other Human Predicaments
15.17 TO PARIS, THE POST, MOLLY’S GAME, THREE BILLBOARDS OUTSIDE EBBING, MISSOURI, THE KILLING OF A SACRED DEER, DOWNSIZING
15.17 TO PARIS
The precision indicated in the title is the structuring device of the film.
A thorough recording of the schedule of the three Americans up to the climactic moment of the attack
The same ...
BLADE RUNNER 2049
The movie is, first and foremost, a visual experience.
Emblematic urban landscape and pouring rain. A significant conjuring up of the first movie screen experience.
The visuals are pervaded by our current tastes for alternative reality/realities
Ubiquitous holograms and virtual images superimposed on to the real world
A taste for “good scenes”
Interesting and intriguing backdrops: a palace, Deckard’s home or simply the ...
The movie opens on a summer day on Coney Island.
Fun is fair, fair is fun
(Foul is fair, fair is foul)
The image of the wheel—seen in the opening shot and at the end, and suggested throughout—casts a shadow over the sandy beach.
The wheel of life is turning, mistakes are repeated, patterns come and go. Recur.
The tragic side of the human ...
A phone conversation with Leo before I could see the movie:
“It is not what SW fans expect
It is doing/starting something else
It is about transmission and the relationships between generations”
A comment by a friend:
“It is amazingly good”
I was prepared—for the best
And I got the best
A work (indeed) centered on dilemmas, inner conflicts/tensions, and choices.
Treating the viewer to the visual wonder of ...
(Laughter and terror: the grotesque, ie. incongruity, distortion, excess)
The world of the museum of art (its aporia, its boldness—real or fake—its institutional dimension, its business model) as a parable of our contemporary society.
The world of modern art and its uncanny elements used to expose a larger social reality about the human comedy and condition.
A series of scenes where incongruous ...