Sunday, 25 June 2017

Capital Celluloid 2017 - Day 186: Fri Jul 7

Song to Song (Malick, 2017): Prince Charles Cinema, 1pm & 6.15pm

A rare foray into new release territory for Terrence Malick's latest movie, which starts its run at the Prince Charles tonight and will get a limited run in theatres here in the UK. Don't miss. You can find full details here.

Little White Lies review:
There is nothing in cinema that currently compares to the radical five-film symphonic suite made by Terrence Malick between 2012’s The Tree of Life and 2017’s Song to Song. Not Marvel. Not Fast and the Furious. Not Saw. Not anything. Sure, these films aren’t for all tastes, and they’re not at all meant to be. And they do require the viewer to put conventional critical faculties on standby, like you would close your eyes and mouth and hold your nose as a giant wave crashed over your head. They are euphoric, active experiences that demand a small adjustment of perspective. But what is it that makes them so extraordinary? The French director Bruno Dumont once said that he values feelings that don’t correspond to obvious screen drama – tedium, listlessness, confusion, depression. In a similar way, Malick’s late work adopts this counterintuitive approach to almost every aspect of the filmmaking process. He foregrounds difficult emotions, and realises them in bold, unconventional ways. Song to Song exemplifies his unique and ultra-sensual mode of montage-based storytelling, where human characters are constantly submerged in an endless, glowing stream of consciousness. Here, the eyes are not the only the window to the soul – the twitch of the hand, a twist of the neck, the accelerated breathing pattern can also offer vital signs of life. The eyes are less important that what those eyes are looking at, and who’s looking back. The film is a deconstructed musical that’s loaded with all the rhapsodic highs and lows associated with the genre. The actors work hard to make their characters inscrutable but empathetic, especially the sad-eyed Rooney Mara and stone-faced Ryan Gosling. Malick is looking to answer the big questions by focusing on the smallest of nuances. He gets at things and makes breakthroughs without ever really pushing. It’s a majestic and profound film in which human beings waltz with one another and occasionally swap partners.
David Jenkins (full review here)

Here (and above) is the trailer.

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