Lisa, despite my disappointment with Marie Antoinette I am so glad you put it on your list. I thought it lacked a ton of energy, but there was still something so graceful about it that I adored. Hauske and I saw it together just a few weeks ago, and I left the theater feeling so calm and.....beautiful. Honestly, that's cheese-dick to boot, but it's true. Though, as I kept thinking about the substance of its narrative so much of the bloom I had withered away. I read your review, so I think I understand your appreciation of it (much for the long-takes and slower, more open camera), which is much of the reason why I liked it too. I remain ambivalent about it (I almost snuck it onto my own list), but I am glad to see it here.
In my introductary short essay where I argue that 2006 is a year of disappointments, I would actually exclude MARIE ANTOINETTE from that list. Maybe it was just that I didn't expect much, but at least it was about something -- and at least one could see why Sofia Coppola was making it. In my estimation, she leaves something to be desired in terms of mise-en-scene, but when I think about it, MARIE ANTOINETTE was better than the majority American films I saw this year. And on a list as devoted to aesthetic ambition (and rigor) as Lisa's, to me it makes perfect sense.
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Lisa, despite my disappointment with Marie Antoinette I am so glad you put it on your list. I thought it lacked a ton of energy, but there was still something so graceful about it that I adored. Hauske and I saw it together just a few weeks ago, and I left the theater feeling so calm and.....beautiful. Honestly, that's cheese-dick to boot, but it's true. Though, as I kept thinking about the substance of its narrative so much of the bloom I had withered away. I read your review, so I think I understand your appreciation of it (much for the long-takes and slower, more open camera), which is much of the reason why I liked it too. I remain ambivalent about it (I almost snuck it onto my own list), but I am glad to see it here.
In my introductary short essay where I argue that 2006 is a year of disappointments, I would actually exclude MARIE ANTOINETTE from that list. Maybe it was just that I didn't expect much, but at least it was about something -- and at least one could see why Sofia Coppola was making it. In my estimation, she leaves something to be desired in terms of mise-en-scene, but when I think about it, MARIE ANTOINETTE was better than the majority American films I saw this year. And on a list as devoted to aesthetic ambition (and rigor) as Lisa's, to me it makes perfect sense.
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