[[{“value”:”…Corbet can be just as critical of indie movies as he is of studio-backed ones. “Art-house cinema and big tentpole releases are equally algorithmic,” he said. “I’ve seen ‘4 Months, 3 Weeks and 2 Days’ remade forty-five times. I know why; it’s an extraordinary film.” Still, he went on, “There’s this kind of faux subtlety,
The post Very good sentences appeared first on Marginal REVOLUTION.”}]]
…Corbet can be just as critical of indie movies as he is of studio-backed ones. “Art-house cinema and big tentpole releases are equally algorithmic,” he said. “I’ve seen ‘4 Months, 3 Weeks and 2 Days’ remade forty-five times. I know why; it’s an extraordinary film.” Still, he went on, “There’s this kind of faux subtlety, and an allegiance to good taste, that I find really frustrating. It’s the same recipe, regurgitated over and over.”
“American indies have been conditioned to think small,” Dennis Lim, the artistic director of the New York Film Festival, told me. With “The Brutalist,” Corbet has gone full maximalist. The film, which takes place over a span of thirteen years and ends with a coda set two decades later still, promises, from its first moments, to be a capital-“E” Event. To the sounds of orchestral rumbling, a title card announces the “overture.”
That is from an excellent Alexandra Schwartz New Yorker article about the new movie The Brutalist.
The post Very good sentences appeared first on Marginal REVOLUTION.
Film, Uncategorized
Leave a Reply