Annette, Pig, Titan, Zola: A Year in the Classification of Uncategorized Categories

Stills from Annette, Pig, Titan, Zola, Bad Luck Banging or Looney Pon and Shiva Baby.

Stills from Annette, Pig, Titan, Zola, Bad Luck Banging or Looney Pon and Shiva Baby.

Any movie is viewed with certain expectations. If this is a slasher, we are increasing the body number. If this is a biopic, there will be chewing landscapes from the permanent bellows. If this is an M Night Shyamalan film, expectations about a twist may be detrimental to his mastery but they are inevitable. This year, there were filmmakers with such a holistic vision that they defied expectations, tore the chains of conventions and stretched the boundaries of cinema. They combined, transformed, and made films that evolved into genre-b (l) ending creatures that took on a life of their own.

Like Michael Sarnowski’s first feature Pig. Nicholas Cage is a loner living in the woods with his truffle pig. When his only friend in the world is kidnapped, Nick Cage expects it from Nick Cage in a bloody revenge saga. Instead, Sarnowski offers a devastating study of grief. The eternal subject of boundless power motivates the mourner to rediscover the meaning of life. Once upon a time there was a respected chef in Portland, Rob Feld of Cage, who lost all creative drive in the wake of the loss and was unable to make himself something good and meaningful. Abode’s “Nicholas Cage: Good or Bad?” The actor crystallizes all the pain through the muted and weak performance of the song. Question.

Titan It was the most visceral cinematic experience of the year. Enjoying the rare distinction of being considered a horror powerhouse since her acquaintance with Roy, Julia Ducornou tells a heartbreaking story about the need for family in a film that includes a series of murders, sex scenes with Cadillac, and carrying a cyborg baby. Until expiration. All three include Agathe Russell as Alexia, a go-go dancer who plays the long-lost son of Vincent Linden’s fire captain during the race. Ducournau gives very weak notes from both actors. Deep discomfort but complete suffocation, the first half hour will examine the limits of even the most stern cowards. Violence often erupts in unexpectedly small explosions and unexpected comic locations. When the movie shifts gears, it doesn’t turn out as you expected. The second half is clearly a departure from what came before, but family drama enriches the experience.

Sex is a much more effective way than violence to provoke Puritans and blame archaeologists. Radu Jude opens his new feature, Bad luck banging or loonie pon, Along with the sex tape of history teacher Amy Silibiu (Katia Pascariu) soon goes viral. If Part 1 follows Emmy’s intervention in the midst of an epidemic of slice-of-life documentary genres, Part 2 shatters Romanian history into a fierce set of hypocrisies. In the third, the film gains its turbulent power, as parents set up a kangaroo court to decide Amy’s future at school. Religious bigotry and blindness are exposed in their intimate arguments. Jude is unforgiving in his accusations about contemporary society, and we can not help but laugh at the farce.

Annette That too is a farce, but what a glory. Like Jude, Leos Caracas is a rare director, and the lack of formal discipline is more of a strength than a weakness. That’s what gives his creations a refreshing energy that vibrates with excitement and playfulness. In a year full of musicals, Caracas’ WTF is a mile away. Because it was different from the other. Adam not only sings in the driver’s temporary stand-up Marion Cotillard’s opera singer’s vagina imitating oral sex. Or because no one recognizes their daughter as a doll. But how does it document their ruined marriage with numbers that completely subvert the musical tradition? Sparks has written some complete bangers in a film that underscores the artificiality of form. The driver fits in perfectly with what the movie expects of him: a Machiavellian punch. The devastation of celebrity and the devastating brutality of male libido are examined in the figurative language of rock opera. The film does not need to beg for our enjoyment. We gladly give in.

Imagine all the people you’ve ever met who come together under one umbrella. In her first feature Shiva Baby, Emma Seligman envisions a funeral from Hell, where parents and relatives suffocate as Daniel (Rachel Sennott) runs to her sugar daddy and ex-girlfriend. A panic attack is never fun, but Seligman takes on the challenge of misleading us. The restless camera builds a repressive mood around Daniel, and the strings of Ariel Marquez raise our own concerns. It is a comedy comedy written in the visual and audio language of a psychological horror film.

Score and sound design are equally essential to Janice Bravo’s visionary inspiration. Corn, An adaptation of Asia King’s viral Twitter thread. Notification pings and messages fade into Mica Levy’s score without limits in a hyperreal experience that you can not shake. Taylor Piege plays the title character, a Detroit waitress and part-time stripper who is drawn to a wild adventure to Florida. The seducer is Stephanie Riley Keefe, a loud, artificial white (trash) stripper who recognizes – or pretends – a relationship with Zola. The cross-country road-trip turns out to be a nightmare of sex, kidnapping and murder. In addition to Keefe, Coleman Domingo, Stephanie’s successor, also performs bravely. The initial images of Sola and Stephanie jumping down from a hall of mirrors, trapped in fragmented reflections, are, in a nutshell, Zola is a movie on social media. Reflecting Stephanie Zola’s gestures and movements, it speaks not only to whites’ exploitation of black culture, but also to our own quest for the authenticity of a phantom when it is extremely online.

The demolition of all these six films and the reports of the death of the film are very exaggerated. The art form is active and excellent, more personal and bold than ever. In a year full of plot twists and tonal shifts, the films mentioned above appropriately copied its spirit. Between the fear of a new variant and the hope of returning to normal, between the reopening of theaters and keeping a social distance, we were caught in an uncertainty between wanting to get out and waiting for some time. There was also a movie that either rewards the election. Annette, Titan, and Zola will remain in our imaginations for a long time as we adjust the barometer for future attempts, giving us experiences we have never experienced or have never experienced before.

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