Simplicity, indeed, is almost a habit with Kurosawa: never in his films did he tend towards the obscure, though this simplicity is not without intellectual depth.
There’s no denying that a lumbering, episodic structure such as this movie possesses can only be further deadened by the detectable calculation of where each episode will take us.
It feels as if the post-capitalist utopia which Straub and Huillet envision will have no place for visual delectation, or depth of feeling, and certainly not humor. Sounds sorta regressive, doesn’t it?
Apichatpong can find life in anything, even the ceiling fans that hang above the sleeping soldiers, the hi-res camera “freezing” their rotating blades.
Iris documents its subject’s endless curiosity and curiosities alongside an unyielding passion for her work that only grows with age.
From then on, my mom and I spent countless weekends driving three hours to watch a weekend’s worth of movies in Omaha, something of a revelation for a kid from the prairie.
Accordingly, I noted how she used idiosyncrasies to convey her character’s emotional state and something larger about her role in the company. Without her performance being singled out, I would have missed such subtleties.