Brooklyn-based writer/director of film and theater. Here for the movies.
love a cinema genius who is also a theater kid at heart. I see those Brechtian devices to puncture and expand the achingly emotional storytelling! Also, as in THE LAND, Chahine proves himself master of the astonishing shot which evokes the film’s title!
feels like Maurice genuinely gets the wind knocked out of him by Jeanette, who also genuinely gets hurt by Maurice… the champagne flows, but then it’s hard to see the light through the hangover… also GAGS
slow-dawning realization this is SUNRISE.
EDIT: slow-dawning realization of the Third Reich propaganda subtext inherent in choosing the German haus frau over the Polish mistress. That’s a gross simplification of well-rendered characters and I still quite liked the film as a film but like, was it okay for this to be a blind date film? Blind date with Harlan comma Veit? I mean, I would have seen every film in the festival regardless, but surely absolute consent and some…
