-
Drive My Car (2021): The Method He Cannot Use on Himself
Hamaguchi’s film Drive My Car centers on theatre director Yusuke Kafuku, who teaches actors to express emotionless dialogue while struggling with his own grief for two years. His method, intended for clarity, masks his inability to confront loss, culminating in a profound realization during rehearsals of Uncle Vanya through the voice of his deceased wife.
-
Tár (2022): The Structure She Became
Todd Field’s film “Tár” presents Lydia Tár, the first female chief conductor of the Berlin Philharmonic, exploring her complexities and blind spots as an artist. It critiques the structural inequalities faced by women in the arts while detailing Lydia’s downfall, highlighting the artistic privileges men often enjoy without consequence.
-
Manhattan (1979): The Alibi That Looks Like Love
The review of Woody Allen’s “Manhattan” critiques its portrayal of relationships and moral complexity through stunning black-and-white cinematography. The film follows protagonist Ike Davis’s misguided romance, notably with the uncorrupted 17-year-old Tracy. It explores how aesthetics shape narratives, ultimately revealing ethical blindness in the pursuit of beauty and sophistication.
-
Cold War (2018): What Falls Between the Cuts
Cold War, directed by Paweł Pawlikowski, depicts a complex love story between Wiktor and Zula, spanning fifteen years across Europe. The film’s artistic cuts to black illustrate the gaps in Zula’s experience and sacrifices while Wiktor’s narrative dominates. Joanna Kulig’s powerful performance as Zula is a standout, revealing unvoiced struggles.
-
An Angel at My Table (1990): What the Hair Knows
“An Angel at My Table,” directed by Jane Campion, explores Janet Frame’s life through her autobiography, highlighting the contrast between the film’s portrayal and Frame’s own understanding of her identity. While celebrating her resilience against psychiatric misdiagnosis, the film ultimately struggles to convey the richness of her prose, which defined her true genius.