I thought I’d mark my first year anniversary on Letterboxd by posting a review of my favourite film. It’s a long review, and personal at times, and contains some spoilers, so there you go - a few excuses for you not to read it! But thanks if any of you other Wings of Desire diehards do manage to make it through it to the end.
Stanley Kubrick’s 2001: A Space Odyssey is an open-ended film that allows people to interpret it in different ways that are personal to them. What I saw when I watched it this time was music. Not in a synaesthesia sense of seeing when hearing, but in a structural and thematic sense, as if it were a symphony composed for film. Kubrick was one of the best directors when it came to using music, he seemed to understand it better than…
Lasting relationships can’t be based on desire and pleasure - they must be based on mutual interests.
This was one of the theses put forward in this French film that explores the affairs of married couples that lead them astray, for better and for worse. It’s a thesis that hit me hard given my current circumstances, but overall I was surprised the film didn’t break me. I thought at first it might be because Love Affair(s) is not that good, but…
“It should be so easy to be happy … It should be the easiest thing in the world … I wonder why it isn’t?”
Julie Christie and Dirk Bogarde make for a very handsome couple caught between convention and radicalism in the changing winds of society in the 1960s. It’s a fascinating time capsule, but it’s a bit clumsy as a drama. The plot is often sidelined by efforts to paint a society in flux, with its conservative and hypocritical…
When I was a teenager I used to delight in playing my LPs backwards and listening out for all those Satanic messages. I bet that if you played Tenet backwards you’d hear the devil mutter something palindromic like “what the fuck the what”
Now I’m not one to say this film made no sense at all, in fact when the music shut up for long enough that I was able to hear what the characters were actually saying, well, there…
Abbas Kiarostami’s third film in his Koker trilogy opens up another fractal layer in his multifaceted metafictional universe. If Where is My Friends House? was the dramatic allegro, and Life, and Nothing More his contemplative adagio, then Through the Olive Trees brings his concerto to a close with a comedic scherzo, further extending the themes that have emerged kaleidoscopically throughout the trilogy.
Whereas the first two films had simple and compelling stories to drive Kiarostami’s ideas, Through the Olive Trees…