Vox Lux

Liana 2022-02-19 08:01:43

In this film, the director tries to use the protagonist's personal experience to insinuate the mentality of the entire Western countries in the social environment of the new era. It is divided into four acts, from prologue to closing, to gradually deepen and reveal the theme.

First of all, in the...

Oma 2022-02-19 08:01:43

1. The story opens with a fascinating posture: how the protagonist's experience of shooting trauma was sold for money. From this, we realize that the film presents consumerism that is even more terrifying than terrorism (consumerism is a point that is difficult for people living in its social...

Monte 2022-03-24 09:03:18

It captures the common features of pop music and terrorist attacks in the post-Cold War era. In the era of world images, attacks/wars and the star-making industry share "simulacrums", condensing complex attacks into finger-tapping technologies such as satellite maps, and attacking "distant" others through stage visual effects and media rendering. Capturing the image of a pop icon, the two are essentially indistinguishable. Celeste, as an attack victim and pop icon, is the target of this era. From prelude to act 2, the film first combines the two identities (the first two parts are very exciting, I like it very much), and then let the idols in the background begin to confess themselves, showing the depravity and trauma behind the great illusion that supports the world. In the end, I returned to Shanda's visual creation, trying to let the audience decide whether to reject or accept the invitation of the illusion after knowing the process. The movie idea is very good, but there are two shortcomings: Portman's confession part is too loud, because the front is too cold, it can be shot with a black swan temperament; I still have to admit that I don't like the concert part (perhaps the director's purpose).

Jazmyne 2022-04-22 07:01:48

It may be that the expectations are too high, and I feel extremely disappointed. It is basically supported by the hue of Stacy Martin. It seems to want to continue the way of seeing the big from the small in "Childhood Before the War". This one is extraordinarily plain and deliberate, and the scheduling is not as subtle as the previous one.