31/48
Ingrid and Martha were close friends in their youth when they worked together for the same magazine. After years of not having contact, they meet again in an extreme but strangely sweet situation… Read all. IMDb editor Arno Kazarian offers sneak peeks at 12 films he screened at the 2024 New York Film Festival, including ‘Anora’ and the dangerous, strangely erotic Misericordia Project: Episode dated September 8, 2024 (2024). Almodóvar’s cinematic worlds have always been interesting to inhabit, and his first English-language feature is no exception. The architecture, the furniture, the paintings, and the decoration all refer to an intellectually sophisticated world that every sophisticated being in this world would like to be a part of, but is not as intellectually and emotionally captivating. Iglesias’s music is beautiful, the opening credits are typical Almodóvar, and Moore and Swinton are two of the world’s greatest actresses, but the script is too simple to go beyond a mere staged piece. Swinton, for example, is a former war correspondent, but that never adds anything interesting to the film. The same goes for Moore, who is a writer, but almost nothing is done with that element here. Another interesting part of the story is where Swinton seems to manipulate Moore into feeling guilt and goodness, but her desires are also too underdeveloped. (See how Fincher, in Swinton’s small role in last year’s The Killer, makes her fit perfectly into the film, with great attention to body movements and diction.) Here, characters and stories from the past appear and disappear, yes, just as they do in real life, but that doesn’t make viewing engaging. Turturro (Almodóvar?) is particularly helpless in this film, having not only uninteresting lines but also a character with a simplistic political message and worldview, and unfortunately the director is to blame for that. In Dolor and Gloria he boldly puts his own pain at the forefront, but like Woody Allen his great inspiration seems to have passed and his films are mere copies and abstractions of previous ideas. The film references Bergman’s persona but is only a shadow of that work of art. (Even the 1-minute trailer contains the entire film.) One final note: that this one won the Golden Lion in Venice this year is not only an indication of how weak the 2024 edition of the festival was, but also, as usual, a sum of the composition of the jury, this time chaired by Huppert: first prize for a film about a woman who wants to be euthanized, second prize for a woman torn by war, love and her community, and third prize for a woman fighting for abortion. Maybe it is an idea to allow filmmakers instead of actors and actresses to preside over the jury so that the best film would have won the biggest prize (The Brutalist Festivals including Venice, TIFF, New York Film Festival, etc.). more.
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