Bradley discusses how the forces of collaboration and intuition inform her filmmaking process. But why, at that moment, I can’t say. That's my story and I'm sticking to it. The design of Manderley is spectacular, its classic English aristocratic grandeur seeming to stretch on for miles, lensed by cinematographer Laurie Rose with gorgeous chiaroscuro layering. She was 18 years into the process of navigating the system, whereas Aloné was in the very beginning stages of that. This sequence has the daring rhapsody of the prolonged prom sequence in De Palma’s Carrie. The climactic confrontation with Giuliani inside the Mark Hotel in Midtown Manhattan, during which Tutar poses as a conservative journalist in order to make her move on “America’s Mayor,” is perhaps Borat Subsequent Moviefilm’s most shocking and uncomfortably hilarious scene—not simply for the already-infamous hand-in-his-pants moment. Nayman understands Anderson to be fashioning a cumulative hall-of-mirror filmography that highlights an America in elusive, surreal, even daringly comic fragments. The social media histrionics have nothing to offer in these incredibly entertaining scenes, which finally bring the film closer to Starrbooty than Clueless. The contrast can be quite bewildering, so much so that viewers may wish that Dry Wind would remain in the realm of reveries. The pastels are traded in for industrial nighttime hues, and cellphones and other modern bric-a-brac are suddenly visible, while the posh suburban neighborhoods, with their kids who can afford to go to dances that whisk them off to neverland, are traded in for strip malls with disaffected teens and working-class parents who’re pushed by their disadvantaged children to the brink of insanity. And as their own faux love affair begins to crumble, they can at last embrace the queerness and messy feelings for which there is no required language, no blueprints, and as such the opportunity to actually find a place that won’t kill them. Basically, it’s like, how do you make something good or bad, right? It is, then, a provocative juxtaposition for Nolasco to stage his queer kinkfest at the epicenter of the land of Bolsonaro. Nayman only deviates from this concept once, as 2017’s Phantom Thread, Anderson’s eighth and most recent film, is saved for last and presented as a culmination of a blossoming sensibility. Review: Borat Subsequent Moviefilm’s Satire Could Use Sharper Teeth, Adam Nayman’s Paul Thomas Anderson Masterworks Honors PTA’s Ambiguities, NewFest 2020: Dry Wind and Alice Júnior Take Aim at the Patriarchy in Brazil, Review: Synchronic Undermines Its Delightful Strangeness with Handholding, Review: Sound of Metal Is a Tender, Singular Portrait of Addiction, Review: Beabadoobee’s Fake It Flowers Evokes Nostalgia Like a Childhood Bedroom, Review: Bruce Springsteen’s Letter to You Is More Homecoming Than Retread, Review: The Mountain Goats’s Getting Into Knives Is Overproduced and Under-Thought, Review: Star Wars Squadrons Takes Star Wars Fans on a Ride They Deserve, Review: Ikenfell Has a Narrative that Considerably Out-Charms Its Combat, Review: Spelunky 2 Spit-Polishes a Familiar Formula to Near-Perfection, Review: Marvel’s Avengers Forces You to Run the Games-As-a-Service Hamster Wheel, Review: No Straight Roads Is Richly in Tune with Its Personal Themes, Review: Season 3 of Star Trek: Discovery Remains Stuck in the Future’s Past, Review: The Good Lord Bird Infuses an Abolition Story with Wry, Dark Comedy, Review: Fox’s Next Is an A.I. TWITTER In this case, it’s one that has to do with jealousy, or the impossibility of intimacy in such queer configurations where sex is public only if it’s clandestine but affection must be refused for the sake of social survival. The strangeness of this arrangement, like the general timelessness of the setting, underscores the arbitrary ornateness of real ceremonies—prom, homecoming, graduation—that insidiously serve the purpose of conditioning us to become well-behaved cogs in the social machine, like all the disappointed parents who lurk in the periphery of the film.
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