In fact I would call it a triumph for TLA (for the company is as conceited as FOCUS, on another level): this is a nice little film, obviously crafted with care, even if it has its missteps, and a problematic end.
Ben Bonenfant, is truly a good boy! He can put on his various personas in a way the film profits from, and does not get obvious, or too allegory-laden. As it is the Lynch smell of the labyrinthine building is as much allegory one wishes for, and, hey! now that I think of it, Eraserhead as a pun may give us the guideline of this pilgrim's progress.
The most touching, in fact the film's anchoring scene was the encounter with the old gay man who almost glows with polemical significance when on screen; a really magnetic presence. And since I get weary with the word wisdom, the exchange between the two of them, gives us I think a graceful moment, when two generations almost at the edge of the spectrum meet. I have rarely encountered it in a film ringing so simple and true. Thank you.
All the stories that revolve around are well done, but the end is somewhat problematic. Was I the only one to get the comic effect when the writer gets what he wants and jumps onto his writing, inspired and - actually - self-absorbed? The irony here is too strong to be saved, or convinced by a happy ending. Even the protagonist seems reluctant about this, having made his choice. In the end he seems more of a worthy erotic object than the somewhat pathetic writer. The pitch of the pre-kiss scene seems borrowing on the sensitivity after "Shortbus", and comes off too good for its sentiments. I for one was more in tune with the haunted peregrinations tonality, or at least I would prefer the irony, or rather the common need to bond, not to fall back halfway on our amiable protagonist.
Ben Bonenfant, is truly a good boy! He can put on his various personas in a way the film profits from, and does not get obvious, or too allegory-laden. As it is the Lynch smell of the labyrinthine building is as much allegory one wishes for, and, hey! now that I think of it, Eraserhead as a pun may give us the guideline of this pilgrim's progress.
The most touching, in fact the film's anchoring scene was the encounter with the old gay man who almost glows with polemical significance when on screen; a really magnetic presence. And since I get weary with the word wisdom, the exchange between the two of them, gives us I think a graceful moment, when two generations almost at the edge of the spectrum meet. I have rarely encountered it in a film ringing so simple and true. Thank you.
All the stories that revolve around are well done, but the end is somewhat problematic. Was I the only one to get the comic effect when the writer gets what he wants and jumps onto his writing, inspired and - actually - self-absorbed? The irony here is too strong to be saved, or convinced by a happy ending. Even the protagonist seems reluctant about this, having made his choice. In the end he seems more of a worthy erotic object than the somewhat pathetic writer. The pitch of the pre-kiss scene seems borrowing on the sensitivity after "Shortbus", and comes off too good for its sentiments. I for one was more in tune with the haunted peregrinations tonality, or at least I would prefer the irony, or rather the common need to bond, not to fall back halfway on our amiable protagonist.