Water sometimes returns to the river

Rylee 2022-03-22 09:02:37

European-style humanities, natural and elegant and subtle, at the same time provincial, too plain and boring.

So I'm allowed to not be old, as long as I don't wanna be young.

A series of character identities are highly consistent with real identities, and the instructions overlap each other. Assayas has laid out a complex metaphoric network before the start of the drama; drama and (movie) reality, between movie (reality) and the real world , the blurred boundaries were also erased by the director, leaving behind ambiguous reflections and intertexts.

Just like the glass mirrors that fold the real space in the theater of the final act, Sigrid shuttles through it, and Helena is left and trapped in the image; it is also like the melody of Canon reciprocating and circling upwards, the Maloja snake lurking in the mountains . They are a never-ending torrent of time, with ichthyosaurs lurking beneath the skin.

"Helena's a wreck, and we get it. I think they want what comes next." In fact The house remains full and anticipating the stories flooding in and out. For Maria, she can live out of time, every age at once like everyone else. For drama, Valentine Maria and every recursion are poetry.

The faces of everyone in the film are so long and unbearable, the expression changes are very restrained and subtle (except Chloe), maybe that's less is more. The tone of voice is also rich in texture, German, Italian, French, Scandinavian, English, and several American styles are all complete, and it sounds good. I really like how they chew the words differently, with high-level lines (there are always unfamiliar ones. subtle word.jpg), want to repeatedly pull or even back.

Can't tell if I want to be or like someone like Valentine. Casual, with a stretched frame, moderate muscles, full of toughness, curly hair gathered up at will, a firm and clean face, a somewhat ambiguous matte voice, a natural and crisp tone, each pursed lips and holdback added a third to her Fragile, it seems that there is little change, but it is delicate and all-encompassing, how delicate

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Extended Reading

Clouds of Sils Maria quotes

  • Maria Enders: Jo-Ann?

    Jo-Ann Ellis: What's up?

    Maria Enders: I wanted to ask you. You know the scene at the beginning of Act 3 when you tell me you want to leave and I get on my knees and I beg you to stay? You're on the phone ordering pepperoncini pizza for your coworkers in accounting. You leave without looking at me. As if I didn't exist. If you could pause for a second. Helena's distress would last longer when she's left alone in her office. Well, the way you're playing it, the audience follows you out but instantly forgets about her. So...

    Jo-Ann Ellis: So? So what?

    Maria Enders: When, when I played Sigrid I held it longer. I thought it was more powerful. Erotically. I mean, it really played well.

    Jo-Ann Ellis: No one gives a fuck about Helena at that point, do they? I'm sorry, it's pretty clear to me that this woman is all washed up. I mean, your character, Maria, not you. And when Sigrid leaves Helena's office, Helena's a wreck, and we get it. You know, it's time to move on. I think they want what comes next.

    Maria Enders: If you just held it a few seconds longer.

    Jo-Ann Ellis: It doesn't really feel right for me, Maria.

    Maria Enders: You're right. Yeah. I - I - I think I'm - I'm lost in my memories. You think you've forgotten your old habits, but their all - they all come back. Have to break them.

    Jo-Ann Ellis: I guess you do!

  • Piers Roaldson: [Piers proposes new movie mutant role for Maria] I'm trying to consider genetics from a more human point of view.

    Maria Enders: When I was reading it, I imagined someone much younger. Maybe me younger, actually, but you were seeing me in movies that were made years ago. I - I've changed.

    Piers Roaldson: She has no age. Or else, she's every age at once. Like all of us.

    Maria Enders: Can I be frank? Maybe it's because I'm working with her, but as I was reading it, I - I kept thinking about Jo-Ann.

    Piers Roaldson: Yeah, well personally, I never think about Jo-Ann Ellis.

    Maria Enders: You're wrong. She's smart. And talented. She's modern, just like your character.

    Piers Roaldson: My character isn't modern. Not in that way, anyway. She's, outside of time.

    Maria Enders: Outside of time. I don't understand. It's too abstract for me. It's all right.

    Piers Roaldson: I - I don't like this era.

    Maria Enders: You're wrong. It's yours!

    Piers Roaldson: Amen! I didn't choose it.

    Maria Enders: [laughs]

    Piers Roaldson: And if my era is Jo-Ann Ellis and viral Internet scandals I think I'm entitled to feel unrelated, aren't I. I mean, it's nothing against her, I guess I just assumed you'd understand.