Kristoffer Borgli
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…a nervy A24 anxiety spiral that sits comfortably alongside ‘Uncut Gems’ and ‘If I Had Legs I’d Kick You’.
Pattinson channels a jittery, anxiety-riddled performance that recalls the relentless nervous energy of Adam Sandler in “Uncut Gems.”
A24 actor-in-residence (I mean, Uncut Gems, Marty Supreme, The Moment, and now this), Hailey Benton Gates…
There’s a key thematic link with this year’s The Drama in that depicting male fears about emotional females is a given…
From The Drama to Over Your Dead Body to Ready or Not 2: Here I Come.
The film may not quite hit the mortifying highs of its obvious forebears, Lars von Trier’s Melancholia and Thomas Vinterberg’s The Celebration, given their especially dark revelations, but its climax is memorably unbearable nonetheless.
Sex and the City did it glibly in season one, in the episode titled “Three’s a Crowd.” But no, surprisingly, it’s not Carrie Bradshaw (Sarah Jessica Parker) who comes up with the question, but Charlotte York (Kristin Davis), casually telling Carrie as they walk down the street, “How well do we ever know the people we sleep with?” Later in the episode, when Carrie finds out that Mr. Big (Chris Noth) was married before, she realizes, “Charlotte was right, we don’t really know the people we sleep with.”
Borgli recalibrates the technique, shifting it from feeling like a Family Guy cutaway to something closer to Ingmar Bergman’s Scenes from a Marriage.
“The Drama” is more awkward than Larry David squirming out of a “Curb Your Enthusiasm” jam.
…a film not about school-shooting as in the similarly disguised Elephant…
The film may not quite hit the mortifying highs of its obvious forebears, Lars von Trier’s Melancholia and Thomas Vinterberg’s The Celebration, given their especially dark revelations, but its climax is memorably unbearable nonetheless.
Pattinson has found his stride with sweaty loser roles lately (see Mickey 17, Die My Love)…
Conveying similar shades that he brought to last year’s Die My Love, in which he also played a man who realises how little he understands his partner, Pattinson adroitly depicts Charlie’s growing doubt and confusion.
[READ MORE: Our review of ‘Die My Love‘ directed by Lynne Ramsay and starring Robert Pattinson]…
Charlie (Robert Pattinson, of Die My Love)…
Lo hizo ya en «The Lighthouse», «Tenet», «Die My Love», en por supuesto «Twilight»…
He taps into a similar patheticism to that of his work in Die My Love, though with a twitchiness that had me in stitches.
I’m reminded of the opening lines from David Fincher’s Gone Girl: “When I think of my wife, I always think of the back of her head. I picture cracking her lovely skull, unspooling her brain, trying to get answers.
…humor of the sort found in dark comedies like THE SQUARE…
…o «Midsommar» de Ari Aster…
…not only does each person have a different version of the tale (a la Akira Kurosawa's "Rashomon")…
…likening it to the inverse of what happens in Louis Malle’s Lacombe, Lucien, with the titular character joining the Nazis when he’s rejected by the Resistance…
The twist isn’t up there with THE CRYING GAME and THE SIXTH SENSE, but it’s still a doozy.
The twist isn’t up there with THE CRYING GAME and THE SIXTH SENSE, but it’s still a doozy.
Not to mention it claims a bit too much thematic relevancy to Borgli’s newly resurfacedMay December essay...
Think “Dream Scenario” (2023), “Tar” (2022) and, now, “After the Hunt.”
…a nervy A24 anxiety spiral that sits comfortably alongside ‘Uncut Gems’ and ‘If I Had Legs I’d Kick You’.
Joshua Raymond Lee and Kristoffer Borgli’s editing reminded me of Olivia Neergaard-Holm’s for The Chronology of Water.