At the end of Soviet Union, when the censorship relaxed a bit. One student graduate, went a little too far with his diploma work and ballooned what was supposed to be 20 minute short into a feature film. Based on Vasilyev's story and with his blessings, we get a very dreary and straight forward tale of the sacrifices, that the Silent Generation of USSR had made. A very peculiar color pallet must be noted. The movie starts with a shot of a photograph and proceeding sepia tint, really gives you a feel, that you are looking at an old photograph, that is almost eroded with time with just a few glimpses of color. My sole point of criticism is just that outside of it's significance for the dying Soviet Union, you really feel, that it's not a full fledged director behind the camera yet.
Intricate plot, focused around two criminals, trying to rise above their predicament of being crossed on a job. Ensemble cast with good performances in a complicated web of affairs, struggling for control of the situation. Amazing and suiting soundtrack. And a wide lenses, coupled with unique and creative angles for the scene enhance the mood of a rabbit hole, film tries to achieve. This complexity, however, has it's downsides, as the methodical jenga starts to crumble, not every plot thread is properly addressed and this makes it feel underwhelming, despite the great ending.
Musical that wears artificiality on it's sleeves and is completely self aware from the first scene. Story about how two parents exploit their baby-doll daughter. One because of insecurity and jealousy, the other as a form of revenge. Considering how personal usually Leos Carax's movies are, you can clearly draw parallels to his wife and daughter, and how he thought he perceived them at some point in life. Great cinematography conveys a lot of symbolism through colors. Amazing, memorable songs. And incredible acting, especially Adam Driver.
Pompous drama that relies on characters being idiots and wasting 1/3 of the film on figuring out that they have even time traveled. Unlike Paulo's previous thrillers, there is no comically ridiculous twist in the end, which is a bad choice because that was the most entreating part and what makes all the sets up even work. In Mirage I don't even think he was trying to do this. Everything is relatively obvious after 30 minutes. Several plot line that you expect to converge in some exciting way, just trot along until the mildly good conclusion. Until you remember that Leyra actually let Angel kill his wife the second time around too. Poor woman. Her bones are a borderline macguffin in this film.
This movie is a poster child of embarrassing hacking scenes, that should be restricted to parodies but here we are. Almost every single plot point and revelation is filled with silly contrivances that suck away any tension or excitement.
To the point, where you wonder if this is even from the same series and that you might have to rewatch Fincher's film.
And turns out no, the original author is dead and this is just someone fucking his corpse. Speaking of Fincher's film. If you thought that wasn't grounded enough, then this film is Bourne and Bond combined in terms of pathos but without any charm of both.
The only saving grace is cinematography and generally passable acting, that also unfortunately doesn't smooth, that most of the characters just have nothing to do.