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On Body and Soul

“I aimed at the public’s heart, and by accident I hit it in the stomach.”

A brooding melancholia of hopeless bodies entangled together through arbitrary dream sequence for no other apparent purpose than to shine light on a director (Ildikó Enyedi) still in a stage of experimentation. I guess the only way to fully embrace the last 15 minutes of the film is to bore the audience with hapless sc-fi allusions without the requisite creative process to connect the stories. We get it, they’re having the same dream and its feels like the bulls are somehow connected, but Mike Cahill already experimented with the reincarnation theme that likewise ended up poorly.

Taken apart, this film fails where Upstream Color succeeds: weaving through an esoteric narrative those pieces that force the audience to question the reality of its perceptions, question the overlooking method in the madness.

Taken apart, this film fails where Caché succeeds: the violence outpouring of brittle emotion with the requisite foundation to render the act meaningful. While the finale showed promising sign of life, Eric Kohn (indieWire) is right about the many “moments when Enyedi mistakes capriciousness for depth.”

Borbély

While the visual depiction of the slaughterhouse and the unprocessed humanity that occupies its walls is stunning at timesthe movie is largely driven by the development of a relationship between two people who need professional help more than companionship to steady the waves of their monotonous isolation. One of the most memorable aspects of the film comes from the quality of performance by Alexandra Borbély. With very few credits to her name and even less recognition for her acting in On Body and Soul, I suspect this will be her unveiling: the Czech Tilda Swinton.

In the end, Jordan Mintzer (Hollywood Reporter) said it best: “a rich and strange tale of thwarted sexuality that takes a tad too long to get to the point.” How this film snuck away with the top prize in Berlin and the Oscar nomination feels like a dream: forgive me.

RATING: C

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Mati Diop’s feature directorial debut “Atlantics” and Jérémy Clapin’s animated favorite “I Lost My Body” have both been acquired by #Netflix following wins at #CannesFilmFestival.⁣ ⁣ “Atlantics” was awarded the grand prix while “I Lost My Body” was voted the best film at the independent International Critics Week." ⁣⁣⁣⁣⁣⁣⁣ ⁣⁣ 📑 | SOURCE:⁣ @variety⁣⁣ ⁣⁣⁣⁣⁣⁣⁣⁣⁣⁣⁣⁣⁣⁣⁣⁣⁣⁣⁣⁣⁣⁣⁣⁣⁣⁣⁣⁣⁣⁣⁣⁣⁣⁣⁣⁣⁣⁣⁣⁣⁣⁣⁣⁣⁣⁣⁣⁣ #film #films #movie #movies #cinema #hollywood #entertainment #celebrity #celebrities #cinephile #filmnews #drama #action #horror #filmcritic #oldhollywood #newhollywood #indies #indiefilms #studio #boxoffice #pop #popstar #entertainment #filmhistory #netflixmovies #netflixandchill
Kechiche (“Blue is the Warmest Color”) in hot water for another prolonged sex scene, last time it got him the Palme D’Or. Not sure how this film got through the @festivaldecannes selection process, but gratuitous sex scenes in LGBT (vs straight films) have continuously been rewarded (e.g. “God’s Own Country,” “120 Beats Per Minute,” “Weekend”). ⁣⁣ 📑 | SOURCE:⁣ @indiewire⁣⁣ ⁣⁣⁣⁣⁣⁣⁣⁣⁣⁣⁣⁣⁣⁣⁣⁣⁣⁣⁣⁣⁣⁣⁣⁣⁣⁣⁣⁣⁣⁣⁣⁣⁣⁣⁣⁣⁣⁣⁣⁣⁣⁣⁣⁣⁣⁣⁣⁣ #film #films #movie #movies #cinema #hollywood #entertainment #celebrity #celebrities #cinephile #filmnews #drama #action #horror #filmcritic #oldhollywood #newhollywood #indies #indiefilms #studio #boxoffice #pop #popstar #entertainment #filmhistory #LGBT #gayfilms #cannesfilmfestival
Cannes has awarded their top prize to the brilliant South Korean director, Joon-ho Bong (“The Host,” “Mother,” “Snowpiercer”): a first for the country. ⁣ Back to back years the East takes the Palme d’Or; and deservingly so, with how brilliant the Korean and Chinese new waves have been. Hopefully more from Japan and Hirokazu Kore-eda to come. ⁣ This is exciting time to be a movie fan. ⁣⁣⁣⁣⁣⁣⁣ ⁣⁣ 📑 | SOURCE:⁣ @festivaldecannes ⁣⁣ ⁣⁣⁣⁣⁣⁣⁣⁣⁣⁣⁣⁣⁣⁣⁣⁣⁣⁣⁣⁣⁣⁣⁣⁣⁣⁣⁣⁣⁣⁣⁣⁣⁣⁣⁣⁣⁣⁣⁣⁣⁣⁣⁣⁣⁣⁣⁣⁣ #film #films #movie #movies #cinema #hollywood #entertainment #celebrity #celebrities #cinephile #filmnews #drama #action #horror #filmcritic #oldhollywood #newhollywood #indies #newwave #pop #popstar #entertainment #filmhistory #briancranston #network #msm #news #media #bias #cannesfilmfestival #koreancinema
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