There are stories of coincidence and chance, of intersections and strange things told, and which is which and who only knows? And we generally say, "Well, if that was in a movie, I wouldn't believe it." - Magnolia

15.10.13

Before Midnight and Living Life in a Straight Line

Sony Pictures Classics
Almost 20 years ago, we first met Celine (Julie Delpy) and Jesse (Ethan Hawke) in Before Sunrise in Vienna when Jesse runs into Celine on a train. The two begin to talk, there are obvious sparks, and they proceed to spend the whole evening and night together, but part ways in the morning. 10 years later, we see them again in Before Sunset when Jesse (now a successful author) is on a book tour stop in Paris and Celine comes to meet him again. Once again, they talk for the entire duration of the film and the film ends at Celine's apartment as the sun goes down. The ending is a bit ambiguous, but we can guess that the two finally decide to come together as a couple. 

And now, almost 20 years later, Before Midnight confirms where they left off. Jesse and Celine are together, they have twin girls, and Jesse's 14 year old son lives in Chicago with his ex-wife while he lives in Paris. The entire film follows Jesse and Celine as they begin vacation on the beautiful Peloponnese coast in Greece (some seriously beautiful scenery here) with some friends and take the first evening to walk to a hotel in the town nearby where they plan to spend a romantic evening. In true director Richard Linklater fashion and like the other films, Before Midnight consists of nothing but all the characters conversing, but there is never a dry moment. Every conversation is highly interesting, and yet feels very natural and real for all the characters and not just fashioned for the audience's enjoyment. Linklater is in top form in the masterfully handled long shots and directing of Hawke and Delpy who deliver fantastic performances. Linklater is definitely inspired by Woody Allen's unique ability to capture the awkwardness and complexity of human interaction, and he takes it one step further in the meaningful content that can be found in each one of the conversations we witness.

8.10.13

Review: Gravity

Warner Bros.
Ever since 2006's Children of Men, I've been on board with anything director Alfonso Cuaron does. Coupled with Emmanuel Lubezki's (a childhood friend of Cuaron's) amazing cinematography (using some jaw-dropping long-takes and handheld camera), Cuaron proved himself a master of directing suspenseful action but able to keep a hold of the humanity and depth of the characters. The only problem was that was back in 2006. Cuaron didn't make any feature film again till rumor of a project related to space or sci-fi of some sort surfaced back in 2011, and of course, now in 2013 we finally get Cuaron's next film, Gravity.

Early reports said that some serious special effects and 3D work were going to be involved in this project. And then it became known that Sandra Bullock and George Clooney were going to be the only stars of the film as astronauts involved in a space shuttle catastrophe who are launched, adrift, into space (basically a living nightmare for a lot of people right up there with drowning). A couple of things become apparent immediately. One, only two actors means more pressure on the actors and the script to keep the audience emotionally invested in the characters beyond just the action. Two, a whole host of potential factual inaccuracies as far as space stuff goes. Three, will the 3D work?