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Post by pendragon on Jul 2, 2019 22:26:28 GMT
What a beautiful movie.
And it's not just the cinematography, which is gorgeous. The whole film has a very ethereal, poetic quality. It's a bit Terrence Malick-like, though not in a copycat sort of way - it's definitely its own thing - it just made me feel a similar feeling. The photography, the music, the editing, the atmosphere that emphasizes mood over plot. It's poetry in the way that most other films are prose.
Now being a white person who has never lived in San Francisco, there are probably others better equipped to talk about the themes and cultural significance of the film. I just love it for its film-making qualities. Joe Talbot is definitely a director to watch.
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avnermoriarti
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Friends say I’ve changed. They’re right.
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Post by avnermoriarti on Jul 2, 2019 22:38:06 GMT
I’ve heard so many good things about this film, really looking foward to it, on Letterboxd someone brought up Malick, as you just said, but also Beasts of the Southern Wild in how experimental it is. Probably I’ll wait until is in some platform because I don’t see it having a good run outside the US
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Post by Sharbs on Jul 3, 2019 21:40:27 GMT
I was so knocked back by the presentation of this that i never really got a foothold of what this was trying to do. Needs rewatch
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Post by DeepArcher on Jul 9, 2019 1:36:09 GMT
Finally saw this today, and I really liked it! Thought it was maybe a bit too long for its own good, it's a film that acts very much as an unstructured canvas for all sorts of different ideas, not all of which work. There are some empty moments that make certainly patches of the film feel a bit deflated, but much more of it works than doesn't, and a lot of the stuff that works does so really well. Some of the most poignant, heartbreaking, and even funniest moments in film this year are sure to be found packed in here. The San Francisco we see presented here is a far cry from the tourist advertisements we're used to, and instead Joe Talbot and Jimmie Fails decide to paint it in a breathtaking, often melancholy light, a letter to a city that's full of both love and hate but undeniably an incredibly personal tale of Home. It's presented with an uncanny poetic, spiritual quality, while Emile Mosseri delivers a score from the heavens that gives this film its totally unique energy. Jonathan Majors, who takes on maybe the best character in the film, gives a tremendous performance that at first seems like a deceptively simple sidekick role that gradually bursts into so much more.
Certainly one of my favorites of 2019 so far, though it's been such an iffy year that that's not saying tooo too much. Though I did really like this and liked it more and more as it went along, so I may give it a rewatch later in the year to see if it grows on me even more.
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AKenjiB
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Post by AKenjiB on Jan 12, 2020 22:59:20 GMT
Finally caught this and I really, really enjoyed it. One of those films where you get really attached to the characters. The surrealist moments were really entertaining too and made the film standout from your typical drama.
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Post by Tommen_Saperstein on Jan 12, 2020 23:35:26 GMT
Caught this a few weeks ago and loved it. Gorgeous, evocative cinematography steeped in nostalgia (and clearly influenced by Jenkins' aesthetic, which I love). Gorgeous music, strong performances (Majors especially), tight themes of identity, friendship, and masculinity in a rapidly-gentrifying San Francisco. Can't wait for Talbot's next!
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