I'm 31. It sucks even more than before.
Wrote about it for Hyperallergic.
A few years ago I said in some Letterboxd blurb that the grain of the 21st century was going to be the pixel and the glitch. That statement already feels dated, and so does the style of this film. But, at the same time, there's enough innovation, interesting compositions, colors and a couple of surprising moments that made me realize that I'm not up to speed on the kind of software that young filmmakers are using. Kudos.
I just don’t want to be rude, but every review here doesn’t come close to describe how fucking atrocious the dialogue is. How pretty it looks, how convinced it is of what it is, are surely high points, but this might be Larrain’s weakest film by far. Empty provocations, queerbaiting, a plot that absolutely makes no sense, strong idealization of madness, a forced sense of normalcy that doesn’t sit well at all. This is an effort that…
For Brooklyn Magazine I interviewed Shunji Iwai in occasion of the NYAFF.
When I asked him about this film, he said the most beautiful thing I've heard in a while:
"I’m not sure if our world is getting closer to my film, but I do know that the world is always unfair and stupid and dirty… but beautiful."