Empire of Light (2022) dir. Sam Mendes
This left an impression on me lasting about as long as the credits did. There are some beautiful shots and Michael Ward is a great screen presence but it’s a real faceplant of a movie considering the quality of the inputs (except of course the outstandingly bad script, and it’s complete lack of dramatic flow). I’m giving it a 2 and a half as it is still inoffensive enough as whole.
Aftersun (2022) dir. Charlotte Wells
Wells shows a deep understanding of the uniqueness of how cinema can engage with time and memory unlike anything else (how is this just the first feature from her?).
It’s strange how you sometimes earmark the most uneventful things to remember – which Aftersun lets ride out (true memories or not) – but the importance of these mundane and small moments comes to bear in such heartbreaking ways.
Camcorder footage that is weaved in with the ‘present-tense’ 90s feels far from how tacky it would appear on paper, and acts as glue for some really strong editing in general. The most triumphant thing about this is how much it manages to say with so little, and the acting serves to do the same from both leads. Was completely won over with Beau Travail nods and the shot of polaroid fading in; not to mention the last dance ending…
TÁR (2022) dir. Todd Field
There’s an air of indulgence in the long takes of philosophical dialogue that is fitting to the way the titular character regards herself. These kinds of scenes that populate mostly the first half of the film are engaging but are only really justified once the whole picture becomes clear. Lydia Tár is someone who has built a career on literally being in control, and while that is gnawed away at, we as an audience lose insight on the story until it’s climax – blocked out of scenes that earlier on in the film would have been shown in their every beat. The psychological element here is nothing we haven’t seen before but Blanchett provides enough momentum to make these wayward parts worthwhile. At it’s best it reminded me quite a bit of Phantom Thread, albeit with a less interesting critique on/use of the problematic and in-control creative. It definitely warrants a revisit with it’s various interpretations and I’m looking forward to how it plays then.
Bernie's Review 