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Love Lies Bleeding (2024)
Spectacularly lesbian
Spectacularly lesbian. Deliciously dark. Realistically messy.
"Love Lies Bleeding" is wonderfully weird, gay, and absurd. It has most of my favorite things in one place: criminal activity, women, 80s outfits, and a dusty small town in the middle of the desert.
I've been a fan of Rose Glass (director) since "Saint Maude" and I highly recommend you become one too, because if Glass continues to champion spunky and unique women-led stories like "Love Lies Bleeding," we're looking at the next Fincher. Riding the resurgence of the 1.45-minute runtime, this film packs in as much lesbian romance (it moves fast anyway), crime, and gore as one could without a film descending into complete ridiculousness.
Honestly, I have no idea what this film is trying to say, but I don't care because it was so frigging fun! And a bonus? Even rocking what can only be described as a gas station-cut mullet, Kristen frigging Stewart is a goddess.
Le sigh.
Now, if you'll excuse me, I have to go be gay and do crime.
Nai Nai & Wài Pó (2023)
The Grandmothers We Need
Nai Nai & Wài Pó is a short film packing a big punch. It's a humorous peek into the lives of two ordinary but extraordinary grandmothers who refuse to allow their zest for life to diminish with age. The talented director, Sean Wang, masterfully captures the essence of his grandmothers' character with inter-spliced images of their playful banter, quiet moments of care, and quick narrative bits. It's the best kind of human interest piece - tender, honest, and inspirational. Though only 17 minutes long, it's packed with a handful of important life lessons, choosing joy being one of them.
It's fun, quirky, and touching, and I can't wait to see what Wang does next.
Foe (2023)
Came for a thrill. Left without one.
I'm a very forgiving film viewer because I love the art of filmmaking and appreciate the effort (even if the final product isn't the best quality). When I express hatred for a film, it's justified.
I hate FOE. I want this film tossed in the same dumpster fire as Atonement (another adaption).
Film adaptation of books is a popular trope (Pride & Prejudice, 2005, Jurassic Park, LOTR Trilogy, etc.), and when done well, can inspire new audiences to connect with a beloved novel. FOE doesn't do that. And it's a shame because the story has all the necessary ingredients for a solid SCi-Fi Thriller - great actors, ample mystery, and unique world building. Unfortunately, whoever adapted FOE gives viewers a film where the writers spent all their time "setting the stage" and zero time thinking through the payoff.
As a screenwriter, I know what happened here. The writers assumed the book was enough as is, and they could transcribe it without making any adjustments to accommodate viewers instead of readers.
But that didn't work because:
Novels are written to encourage the imagination.
Screenplays are written to give life to the imagined.
FOE doesn't work because it wasn't adapted to give life to anything.
It instead lazily regurgitates the book, and the result is inflated dialogue. A poorly fleshed out plot twist. A couple with zero chemistry (seriously, their sex scenes are so awkward). And, the film drags on forever.
Honestly, the writer's decision to lean heavily on Readership vs. Viewership gives this a shot at being a phenomenal stage play! But, as a film, it's dreadful.
Maestro (2023)
Tortured Genius. Long Suffering Wife.
Before my official review begins, I feel compelled to share the following disclaimer:
Leonard Bernstein was a phenomenal and world-renowned composer and musician, one of the likes we rarely see in a lifetime. He was also a dedicated humanitarian who supported social issues like Civil Rights, protested the Vietnam War, and raised money for HIV/AIDS fervently (now we know why). One of Bernstein's most popular compositions, West Side Story, is THE reason I love film scores - he is an icon, and his story is important.
That being said, let's dive into Maestro.
I long for a story of genius or creation that didn't require women's consumption. Once again, Maestro presents audiences with a story of a male genius breaking through barriers in his perspective field while sucking the soul of the woman who loves him. It is another story of a dedicated and loyal wife who sacrifices her dreams in favor of the dreams of her husband. With so many of these stories popping up, I have no choice but to ask, "Can a man not be extraordinary if he does not burden the woman (or women) around him with constant suffering?"
I desperately crave the stories (they have to exist) of innovation and life-changing creativity that don't require women to accept endless harm in exchange for another person's success. Where are those stories? At this point, the only stories of genius I care about are those that come without the destruction of women. Maybe that's just me?
Regarding Bradley Cooper, he doesn't waste one minute of the film's 2-hour runtime, which is rare in the age of 2.5-hour films. Cooper's directorial perspective is sharp and focused, and he executes shots that are so beautiful I was shocked this was only his second film. Also, Maestro is the first time I genuinely enjoyed watching him as an actor. I'm not sure if it was the magic of Bernstein or his directing, but he is a marvel in this film. However, I desperately hope this is the last time he directs a film where women are reduced to long-suffering partners, as this is the 2nd time in a row for him. Otherwise, I'm going to get suspicious.
It is a beautiful film and pulls inspiration from famous musicals and even Spielberg and Scorsese. While I hate to see another woman suffer for a man's gain, Bernstein's story is important and deserves to be known. So, I recommend watching it and then immediately telling the women in your life how much you love and value them.