Jared Moshe, the writer - director of the throwback Western programmer Dead Man's Burden, returns with
another straightforward take on film's most mythologized genre.
Not exact matches
This alarming horror
film, a brilliant debut for Australian director Jennifer Kent, is as hard to shake as its title character whether you
take it as a
straightforward monster
film, a mental illness or grief allegory, or get hung up
on its minefield of taboos (mothers who don't much like their children / over-medication of children / weapons in schools).
What begins as an even - paced, fairly
straightforward story
takes a turn for the truly bizarre the minute Takeshi appears
on the screen; the
film becomes a discomfiting mixture of extreme violence, dead - pan humor and blithe misogyny.
The
film takes a
straightforward approach, hitting the highlights of her legal career, providing revelations into her private life and marriage, delving into her reputation as a dissenting voice
on the bench, and celebrating her longevity and influence.
Writer / director Sally Potter
takes a
straightforward approach to her material, and for a
film that relies so much
on dialogue, it flows extremely well.
However, it is with Blind that their talents have come into full fruition; Vogt's internal dialogue carries the
film, with Ingrid acting as narrator for all the
film's characters, both in her reality and in her fictions, and Bakatakis» imagery
taking an expressionist approach by focusing more
on sensory details and framing than a
straightforward representation of Ingrid's reality.