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^ I actually felt much more moved by and engaged with the realistic depiction of the Tanuki. The way they were drawn silently observing the humans was so beautiful and sad. It was easier to project my emotions on them when they didn't speak. The other two styles were too silly to elicit sympathy. If the goal was to raise environmental issues, then I think going with that realistic and/or harrowing 'Watership Down' route would've been more effective.
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Nice to see Netflix releasing a couple of b&w 35mm films recently...
Malcolm & Marie (2021)
Respect to director/writer/producer Sam Levinson for quickly putting this drama together during strict lockdown conditions and on stunning black & white 35mm. John David Washington and Zendaya play the only two characters, a film director and his partner, arriving back from a premiere and having a 2-hour argument that rolls back and forth between them like waves. Zendaya's performance is powerful and subtle but I remain unconvinced that Washington can act. He can't even eat a bowl of mac & cheese in a convincing way but he gets better (or stops trying too hard) as the film goes on and as their characters become worn down. The script might be a bit overwritten too. It raises subjects like "the male gaze" and racial bias within the film industry but I wasn't sure if the script was self-aware, or not. For example, Washington's director character was raging against a white film critic attributing every positive and negative thing in his movie to his blackness, while simultaneously attributing every positive and negative thing in her review to her whiteness. Plus Zendaya is constantly shot from behind, including slowly stripping down, spends most of the movie in see-through underwear and one of the first shots of her is with her pants down on the toilet but the Levinson's camera is relatively uninterested in showing Washington's male body in a similar way. There was one line that seemed to acknowledge/highlight that hypocrisy but I'm not sure? 'Malcolm & Marie' is captivating, thought-provoking and technically impressive but not perfect.
The 40-Year-Old Version (2020)
Radha Blank writes, directs, produces, composes the music/lyrics and stars in this beautifully honest semi-autobiographical film about a frustrated playwright on the edge of 40, trying to break into hip-hop, while teaching, trying to get her latest play produced and not dealing with her mother's death. Radha handles the drama and self-deprecating comedy so well and she really knows how and when to deploy an expert 4th-wall break, plus she has a talent for sharp rhymes. Peter Kim is wonderful and totally believable as her ever dependable best friend. Oswin Benjamin's performance as a music producer who Radha teams up with is fascinating, low key to the point that the slightest movement speaks volumes. I suppose I'd liken the film's bittersweet quality to Taika Waititi's films but more grounded. The 35mm black & white cinematography looks gorgeous but like a documentary at the same time. Stick around for the end credits for more laughs.
<hr style="border: 1px solid white;" />
Nice to see Netflix releasing a couple of b&w 35mm films recently...
Malcolm & Marie (2021)
Respect to director/writer/producer Sam Levinson for quickly putting this drama together during strict lockdown conditions and on stunning black & white 35mm. John David Washington and Zendaya play the only two characters, a film director and his partner, arriving back from a premiere and having a 2-hour argument that rolls back and forth between them like waves. Zendaya's performance is powerful and subtle but I remain unconvinced that Washington can act. He can't even eat a bowl of mac & cheese in a convincing way but he gets better (or stops trying too hard) as the film goes on and as their characters become worn down. The script might be a bit overwritten too. It raises subjects like "the male gaze" and racial bias within the film industry but I wasn't sure if the script was self-aware, or not. For example, Washington's director character was raging against a white film critic attributing every positive and negative thing in his movie to his blackness, while simultaneously attributing every positive and negative thing in her review to her whiteness. Plus Zendaya is constantly shot from behind, including slowly stripping down, spends most of the movie in see-through underwear and one of the first shots of her is with her pants down on the toilet but the Levinson's camera is relatively uninterested in showing Washington's male body in a similar way. There was one line that seemed to acknowledge/highlight that hypocrisy but I'm not sure? 'Malcolm & Marie' is captivating, thought-provoking and technically impressive but not perfect.
The 40-Year-Old Version (2020)
Radha Blank writes, directs, produces, composes the music/lyrics and stars in this beautifully honest semi-autobiographical film about a frustrated playwright on the edge of 40, trying to break into hip-hop, while teaching, trying to get her latest play produced and not dealing with her mother's death. Radha handles the drama and self-deprecating comedy so well and she really knows how and when to deploy an expert 4th-wall break, plus she has a talent for sharp rhymes. Peter Kim is wonderful and totally believable as her ever dependable best friend. Oswin Benjamin's performance as a music producer who Radha teams up with is fascinating, low key to the point that the slightest movement speaks volumes. I suppose I'd liken the film's bittersweet quality to Taika Waititi's films but more grounded. The 35mm black & white cinematography looks gorgeous but like a documentary at the same time. Stick around for the end credits for more laughs.