For many of us who spend our lives immersed in movies, part of the attraction is the powerful erotic charge film can create. Here”s the thing about erotic thrillers, though… one of the trickiest parts of film criticism has to do with writing honestly about the erotic.Īfter all, there are few things more private than what it is that turns each of us on. More than anything, this feels like Refn working in the genre that De Palma had largely to himself in the late “70s and early “80s before getting relegated to mere late-night Cinemax fodder. The next day, I went to a screening of the latest film from Nicolas Winding Refn, and the back-to-back timing of the two films made me laugh. They are so familiar at this point, so well-worn, that it surprised me to see how new they still feel when I took a step back. When I saw De Palma, the new documentary about Brian De Palma and his filmography, it sent me scrambling to watch a number of his older films again. I”ll be the first to admit that I am drawn to filmmakers who use cinema as a way of pushing buttons, and I am a fan of the outrageous and the extreme. For example, every generation has its playful prankster, the talented visual artists who are delighted by their own ability to take beautiful pictures of horrible things. There are, in every generation of filmmakers, certain archetypes that repeat themselves over and over.
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