“Open To Interpretation”
By Raymond Benson
Last Year at Marienbad should have had the marketing tagline: “Open to Interpretation,” for the film belongs at the top of a list entitled Movies That Make You Go ‘Huh??’
Alain Resnais’ enigmatic, surreal, and puzzling experimental picture from 1961, the follow-up to his acclaimed Hiroshima mon amour (1959), won the Golden Lion at the Venice Film Festival. The picture has been simultaneously praised and reviled since its release because audiences generally don’t know what to make of it.
Yes, it’s beautiful to look at. The cinematography by Sacha Vierny is magnificent in its black and white, widescreen splendor. The settings at such Baroque palaces as Nymphenburg and Schleissheim in Munich evoke a mysterious past that might be an alternate timeline. The music by Francis Seyrig might belong in a creepy cathedral with its gothic horror organ. The pace is slow, but the picture...
By Raymond Benson
Last Year at Marienbad should have had the marketing tagline: “Open to Interpretation,” for the film belongs at the top of a list entitled Movies That Make You Go ‘Huh??’
Alain Resnais’ enigmatic, surreal, and puzzling experimental picture from 1961, the follow-up to his acclaimed Hiroshima mon amour (1959), won the Golden Lion at the Venice Film Festival. The picture has been simultaneously praised and reviled since its release because audiences generally don’t know what to make of it.
Yes, it’s beautiful to look at. The cinematography by Sacha Vierny is magnificent in its black and white, widescreen splendor. The settings at such Baroque palaces as Nymphenburg and Schleissheim in Munich evoke a mysterious past that might be an alternate timeline. The music by Francis Seyrig might belong in a creepy cathedral with its gothic horror organ. The pace is slow, but the picture...
- 8/5/2019
- by nospam@example.com (Cinema Retro)
- Cinemaretro.com
There’s something claustrophobic about a film set entirely in a single location, an unsettling feeling of being cornered in a confined environment, cut off from the rest of the world. Stories such as these require nuanced characters and thoughtful attention to narrative detail, many of which employ a theatrical feel, while others were literally sprung from a playwright’s pen. Their action sequences are merely verbal, characters revealing shocking truths and saying the unthinkable, while the setting forces them together until an often brutal conclusion. When people are trapped like rats, it’s no surprise they sometimes eat each other.
A new entry in this sub-genre, Green Room, a violent thriller from Blue Ruin director Jeremy Saulnier expands this weekend. In the film, after a punk band witnesses a vicious murder, they find themselves trapped in the club’s green room, forced to fight their way out to freedom.
A new entry in this sub-genre, Green Room, a violent thriller from Blue Ruin director Jeremy Saulnier expands this weekend. In the film, after a punk band witnesses a vicious murder, they find themselves trapped in the club’s green room, forced to fight their way out to freedom.
- 4/28/2016
- by Tony Hinds
- The Film Stage
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