No idea if this is what director Lillian Schwartz had in mind in 1970, but right now it plays like the rapid destruction of the organic humanity by synthetic programming. Like Tetsuo under a microscope. Mesmerizing and terrifying. And just fucking rad.
Forky is a glorious invention, and the character arc of Woody is inspired, and the animation looks great, and Keanu Reeves' Duke Caboom is perfect, and the humor is quick and smart, and the love story between Bo and Woody is resonant and mature, and there is just so much that works in this that by the time I get to this 'but did they really need to do a third sequel hinging on a neglected toy overlord of a new domain?' complaint, it doesn't even seem worth mentioning.
1. The Introduction
Around two-thirty on Sunday afternoon Chantel Akerman stepped out of a car with a grin as wide as one of Chris Marker’s cats. She looked at the long line of people waiting to enter the Light Industry for a rare showing of Michael Snow’s LA REGION CENTRALE. “Wonderful! Is so good to see so many people. You will all love it!” She walked down the line smiling and waving, excited to introduce a film she considers one…
About halfway through THE MYSTERY OF PICASSO Clouzot interrupts the film's format, a blank canvas being filled in by Picasso, to provide a behind the scenes look at the process of constructing the film itself. After an image is complete, we see a shot of Claude Renoir behind the camera, followed by the removal of the canvas and the reveal of a shirtless Picasso putting a lid on his marker.
Up to this point Picasso has been invisible during the…
