Coppola never over-emphasizes any moments or symbols, particularly a moving motif with wrist watches, cultivating a growing tension that’s intensified by fraught close-ups and passages of pointed silence. That was followed by a more self-contained short film, Jopie, edited together from footage she crowdsourced from her Instagram followers during pandemic-related lockdown. We already have this email. Its exploration of the bond between a Parisian wife and mother (Rampling) and a chimp named Max (Berk, compellingly disguised) is shallow, its portrayal of the conflict between the cuckolded husband, an English diplomat (Higgins), and the lovers mild, its sexual sensibility discreet, modest.

Coming Soon. Feeling that their jobs and relationship have grown stale, they elect to take a week-long trip to a friend’s cabin upstate where they will completely unplug from the outside world. Though this practice of collecting gum sap dates all the way to the Aztec and Mayan empires, the sight of the workers silently and miserably toiling for their boss feels like a demonstration of the unfettered agency of colonial capitalism, and as the milky sap trickles down the paths carved by the machetes, the trees suggest victims crying out for justice. But the Instagram project you did with Margaret Qualley is a little more of a two-way conversation because it allows the audience to become a part of it. The eerie religious symbolism here is subtle enough to keep the film grounded in the material world, while still hinting at an undercurrent of spirituality and superstition beneath its austere surface. The … 1986 Etats-Unis ... Ici, on aime l'esprit critique. The central joke of Oshima Nagisa’s Max Mon Amour is not so much that a bored woman would have an affair with a chimp, but that, for the sake of the couple’s stability, the jabbering monkey is ludicrously integrated into the genteel family. But the visuals become even more hypnotic as the men start to fret over their new ward, with colors growing brighter during the day, and nighttime shots losing a bit of their sharpness as Agnes’s interactions with the men, once marked by obvious menace, become more difficult to parse. In a sense, these meticulously crafted simulations of Dick’s death aren’t performed for the benefit of the audience at all. In the wake of the success of Edward Albee’s Who’s Afraid of Virginia Woolf?, Crowley’s coup was to populate an entire play with modern homosexuals getting slowly hammered at a party and, eventually, doing exactly as George and Martha did with Honey and Nick: picking away at each other in a seemingly endless cycle of “get the guests” parlor games. Takes Trifling and Spotty Aim at Millennial Softness, Review: Blood on the Wall Is a Spread-Thin Look at the Migrant Crisis, Review: 12 Hour Shift Is a Well-Oiled Organ-Harvesting Farce That’s Short on Style, Review: Netflix’s The Boys in the Band Gives a Cultural Touchstone a Glossy Update, Review: Joji’s Nectar Creates a Mollifying Vibe That Feels Removed from Reality, Review: Sufjan Stevens’s The Ascension Aims for Great Heights but Often Gets Lost, Watch: Lady Gaga’s “911” Music Video Is a Surreal Death Dream, Review: Alicia Keys’s Alicia Strikes a Careful Balance Between Hope and Despair, Review: Spelunky 2 Spit-Polishes a Familiar Formula to Near-Perfection, Review: Marvel’s Avengers Forces You to Run the Games-As-a-Service Hamster Wheel, Review: No Straight Roads Is Richly in Tune with Its Personal Themes, Review: Samurai Jack: Battle Through Time Wields the Dullest of Blades, Review: To Survive in Windbound Is to Conquer a Grueling Progression System, Review: The Third Day Leans Heavily on Mystery at the Expense of Human Drama, Review: We Are Who We Are Perceptively Homes in on the Malleability of Boundaries, Review: I May Destroy You Boldly Dissects Notions of Sexual Assault and Consent, Review: HBO’s Lovecraft Country Confronts the Evil Lurking Beneath American Life, Review: In My Skin Is a Bitingly Poignant, If Cluttered, Coming-of-Age Story, Interview: Miranda July on Kajillionaire and the Malleability of Movies, The Best Horror Movies on Netflix Right Now, Every Song on Taylor Swift’s Folklore Ranked, On the Rocks Trailer: A Father-Daughter Journey Through the City that Never Sleeps, Listen: Dua Lipa Elevates “Levitating” with Help from Madonna and Missy Elliott, Review: Billie Eilish’s “My Future” Is an Unexpectedly Upbeat Tribute to Isolation, Taylor Swift Drops Surprise Album Folklore and Self-Directed “Cardigan” Video, Blu-ray Review: Jules Dassin’s Brute Force on the Criterion Collection, Review: William Wyler’s Roman Holiday on “Paramount Presents” Blu-ray, Review: Pedro Costa’s Vitalina Varela on Grasshopper Film Blu-ray, Blu-ray Review: Hideo Sekigawa’s Hiroshima Joins the Arrow Academy, Review: Paul Schrader’s The Comfort of Strangers on Criterion Blu-ray, In Ivo van Hove’s Hands, West Side Story’s Actors Are Mice in A Cinematic Maze, Review: Hamlet at St. Ann’s Warehouse Is a Triumph of Production Over Performance, Confessions of a Drag Legend: Charles Busch on The Confession of Lily Dare, Review: Timon of Athens Takes Arms Against the Ravages of Wealth, Under the Radar 2020: The Shadow Whose Prey the Hunter Becomes, Not I, & More, Bestiary Poetically Raises a Coming-of-Age Tale to the Level of Myth, Glenn Kenny’s Made Men: The Story of Goodfellas Is a Stellar Anatomy of a Film, The Appointment Is a Bitterly Comic Unburdening of a Conscience, For Stephen King, As Well As His Fans, If It Bleeds Is a Coming Home, Love Is Political in Tomasz Jedrowski’s Debut Swimming in the Dark.

As a result, the carnage on that we occasionally glimpse on the screen is neither scary nor darkly amusing. The low-key, serene natural beauty of Beginning’s setting provides a counterpoint to the often-disturbing events of the film.

1986 : Max mon amour est présenté en compétition pour la Palme d'or au festival de Cannes [3]