Introspective artist Blake is buckling under the weight of fame, professional obligations and a mounting feeling of isolation. Dwarfed by towering trees, Blake slowly makes his way through dense woods. He scrambles down an embankment to a fresh spring and undresses for a short swim. The next morning he returns to his house, an elegant, if neglected, stone mansion. Many people are looking for Blake—his friends, his managers and record label, even a private detective—but he does not want to be found. In the haze of his final hours, Blake will spend most his time by himself. He avoids the people who are living in his house, who approach him only when they want something, be it money or help with a song. He hides from one concerned friend and turns away another. He visits politely with a stranger from the Yellow Pages sales department, and he ducks into an underground rock club. He wanders through the woods and he plays a new song… –IMDb
A director who is capable of crafting both deeply unconventional independent films and mainstream crowd-pleasers, Gus Van Sant has managed to carve an enviable niche for himself in Hollywood. Since debuting in 1985 with Mala Noche, Van Sant has become one of the premiere bards of dysfunction, populating his films with a parade of hustlers, junkies, psychopathic weather girls, homicidal teens, and troubled geniuses.
The son of a traveling salesman, Van Sant was born in Louisville, KY, on July 24, 1952. One constant in the director’s early years was his interest in painting and Super-8 filmmaking. Van Sant’s artistic leanings took him to the Rhode Island School of Design in 1970, where introduction to Avant-Garde cinema quickly inspired him to change his major from painting to cinema. After mobving to LA, Van Sant became fascinated by the existence of the marginalized section of L.A.‘s population, especially in context with the more ordinary prosperous world that surrounded them… read more
Saw this today; really into it. I even watched Elephant again tonight. Now I need to see Gerry! Michael Pitt is brilliant in this film; he captures Kurt Cobain's spirit but builds a set of idiosyncrasies that are uniquely queer. Van Sant stages it all in stately wide shots, showcasing Blake's large house or a vast landscape. It's impressive, and requires patience, but rewards those willing to indulge a little.
A look at the work of cinematographer Harris Savides.
Ok, i can say that Pitt again is outstanding, but in general, what was the film purpose, what was deeper meaning. Maybe it’s just me that didn’t get the film, but besides the scene where Blake is playing… read review
Con esa especie de poder visual que se suele desprender del reciente cine de Gus Van Sant, “Last Days” se transforma en una pelicula única, que se aleja de esa idea que se podria haber tenido acerca… read review