Treeless Mountain (2009)

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Sometimes you just know. Before I even hit play I knew this film was meant for me. What did I know about it? Barely a thing. My memory only reminded me that it was about two kids and it was minimalistic in style. Not much to go on. All I actually read on Treeless Mountain was a small bit in “The New York Times” over a year ago. But I knew then as I held the paper in my hands that this film would perfectly play into my psychosis and that I couldn’t help but love it. Yes, it sounds weird but sometimes you just know. Continue reading Treeless Mountain (2009)

Three Colors: Red (1994)

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For those who skipped over the Three Colors: Blue and Three Colors: White reviews you probably could go back and read them first. Yet Krysztoz Kieslowski’s Three Colors trilogy is really three standalone films united around the three ideologies represented in the three colors of the French flag. There’s not one narrative spanned over three films but three narratives that seem unrelated. Or are they? Red explores the idea of fraternity, the idea of connections between people socially. So while the film clearly does follow the connection between two people there’s a sense that in some way whether we know it or not we all affect each other: sometimes for the better, sometimes for the worst and sometimes with no impact at all. Continue reading Three Colors: Red (1994)

Three Colors: White (1994)

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When jammed between the wondrously cinematic juggernauts Red and Blue, Three Colors: White gets lost in the shuffle. Even among ‘90s Kieslowski films—of which there are only four—Three Colors: White gets glossed over. In some ways it simply can’t be helped. It doesn’t have the visual gravitas or heavy dramatics to duke it out with the films it bridges but that isn’t to say it’s somehow bad or lackluster, far from it. In fact, attentive viewers will find it has just as much nuance and complexity as the rest of the trilogy. Continue reading Three Colors: White (1994)

Three Colors: Blue (1993)

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A color can strike a mood, create a sense of visual unity and give a film identity. The first film in Kryzstoz Kieslowski’s Three Color’s Trilogy achieves all three. But it goes further than simple aesthetic effect; the color bleeds out of the screen and reaches further into things beyond. At first the idea to make a film based around a primary color seems a simple hook into the film to separate it from similar foreign dramas. But the influence of the color reaches further, goes deeper and touches upon almost every aspect of the film. The color simple isn’t an afterthought; it’s what separates this film from so many others similar to it. Continue reading Three Colors: Blue (1993)

Sherlock Jr. (1924)

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Buster Keaton is one of the pillars of the comedic silent era, so much so that there is a long running debate between movie buffs over which is better: Buster Keaton or Charlie Chaplin. Both possess physical flair and hilarious dramas but that’s about where the similarities end. For instance, Keaton has a tendency to make the comedic elements spectacular, elevating itself beyond the narrative. Sherlock Jr. is a prime example of Keaton’s flamboyant tendency. Continue reading Sherlock Jr. (1924)

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