When it comes to love, Nola Darling has got a problem: she’s just gotta have “it.” And she’s having a hard time deciding who’ll give “it” the best, choosing between a romantic-but-possessive nice guy, a flashy-but-vain fashion model, and a fast-riding but faster-talking bicyclist…
এই ফিল্মটি এখন প্লে না করা হলেও অন্য 30টি অসাধারণ ফিল্ম MUBI তে দেখানো হচ্ছে। এখন কী দেখানো হচ্ছে তা জানতে এখন দেখানো হচ্ছে এ যান
the treatment of rape is pretty fucked up. Nola is a cool character, Lee steps all over her with all that and calling it "near rape" and having her go back to Jamie. Would have loved this film otherwise...
You can tell Spike Lee was passionate about this project. The film is filled with personality and has a strong sense of direction. Ernest R. Dickerson really brings his A game in terms of cinematography. The beautiful lighting and use of stark contrasts make the film feel unique, loved it.
The amateurish qualities translate effectively into something evoking the French New Wave or mid-career Woody Allen. Nonetheless, Lee's own voice is at full volume this early in the game. Some of the acting is a bit stilted, but a lot of it is very brave in its dimensioned sexuality. However, the infamous ending is upsetting and taints what is an otherwise great film. The coda does redeem it a bit though.
Clearly NOT about female power. She got off on these men's affection and dedication, it wasn't about the sexual act per se. She allowed abuse and chased the abuser, she used them on an emotional level. It's disgusting behaviour, reglardless of gender. Claudia Weill's Gilfriends is about female power, not this. If we ignore the fact that Nola sucks as an individual, it's a great movie
um debut incrível de um diretor incrível. que trilha, que foto, que personagens. a única coisa que fica meio off é a cena do estupro (ou a consequência natural dela), que o próprio mr. lee já declarou se arrepender do feito. filmão!
The blending of documentary style provided for me what has always baffled me with character study narratives, which is "why are we being told this story,what is the motivation for these characters to confess their private lives and who are they telling it to". So when they broke the fourth wall and addressed us directly as they were introduced, i enjoyed that. Spike should have stuck to this but politics got him.
Unique and captivating look at sex and the sexes, made with amateurish charm and confidence that raises it above average into the territory of individual and recognizable style for Spike Lee. The central performances aren’t exactly top notch, but they are effective, and the actors make you feel that these characters are, for the most part, more than caricatures, and make you invested in the unfolding drama.
A well told story full of fully fleshed our characters, Spike Lee’s debut may seem smaller than some of his other films but honestly that works to it’s benefit, with the indie aesthetic (albeit almost assuredly due to the budget restraints) and the jazzy score providing a cool backdrop to the story