By my reckoning, there are only 2 shorts worth seeing in this well-intentioned collection, and only one must-see — Jean-Claude Guiguet's Demy-esque and ironic depiction of a typical "night on the town" for a young, gay-male couple in the 90s.
I'm withholding final judgment (and an extra star) until I watch it again but for now I'd say it's worth watching because of its evident attempt to structure a film like a piece of music, with shifting tonal passages and broad movements. I'm still skeptical because it felt at times like just more elitist Sundance posturing, allowing coastal filmgoers to gawk at the awkward, young rubes.
Maybe it's both, I dunno. Whatever it is, it's interesting.
I can't imagine anyone who reads sci-fi more than casually, or even someone who's seen a decent number of Star Trek: The Next Generation episodes, and especially anyone who's read Richard Powers' prescient and emotionally rich Galatea 2.2, or perhaps a reasonably informed average user of modern computers, to do anything but scoff and laugh at Spike Jonez's superficial attempt to speculate about artificially intelligent agents in, what? The near future? An alternate universe? Inside his head? Every time someone…
I can't think of a more accomplished, incisive and illuminating director of actors than Lucrecia Martel, particularly in the naturalistic style she's fond of, and there's no better observer and skewerer of a particular set of social mores. This is my Argentina, every frame of this movie says, and instead of being off-putting or condescending, as the tone of most American directors out of Hollywood would take of their societies, the feel here is intimate and painful — the terror of true self-awareness. That this was her first feature still astonishes me. The Chekhov comparisons are not hyperbole.