New York, 2017.
New York, 2017.
New York, 2017
- Dreamy, surreal dialogue.
- Surprising structure and story, especially for a gay film.
- Beautiful and anxious in all the right ways.
- Makes me miss Singapore in the late night hours. Realized that I haven’t really seen that many movies about iconic cities being empty, during the odd hours.
- The encounters with the strangers throughout the film, really made the film much better than if it was only about the two leading men. The monologues delivered by the supporting characters poignantly represented Paris as a character in the film.
- Beautiful acting from all the leads.
- Came in with a mild skepticism, as it’s a film about a young gay girl – made by an older straight guy. Was generally impressed that how sex and desire play out in the film, nothing felt forced or overly sensualized.
- The film feels very restrained, despite the premise of the film. Even on its most over the top moments, there’s a sense of control that works. Very graceful.
- Despite the meticulous film making, the film never felt condescending or trite – instead it felt very sincere, human.
- Also feels very clear and trim as a film.
- Liked this more than The Lobster, although I haven’t seen Dogtooth or Alps.
- Great casting, Nicole Kidman was pretty great. Barry Keoghan was amazing – a great embodiment of volatile, young masculinity with high potential for violence.
- Again, felt like the movie was kind of talking about the male ego – and violent consequences.
- The shot following Colin Farrell’s character above his shoulder kind of stuck with me.
- Also, the scene where Raffey Cassidy sings to Barry Keoghan’s character, while holding cigarette, standing by a tree.
- The film felt like less of an open ended question than The Lobster (and as told to me by Malcolm, his other films.)
- Saw this with my sister and she was thoroughly confused.