Not what is real but who is real? The use of dreams, mirrors, reflections, if the woman are one or just one persons imagination and scenario daydreams. Even the other characters you have to ask if they're even real, there's something off putting about the entire desert inhabitants or persons it's a view of the stages of growing or even an influence from the Wyrd Sisters. Very strange but very well acted and uncanny.
The moody soundtrack is an important clue for the second-half of the movie, when things turn very meta and cerebral. What started off as a platonic friendship wrapped in lovely, kitschy colours, clothes and sets, ends on a weird, mysterious place, where identity is lost and girl power arises. Spacek plays lunatic so well and Duvall is so easy breezy wannabe trophy-wife. Also, best swimming pool ever <3
Intentional, truly off-putting acting and dialogue, particularly in the first half. Creepy music and weird phrasing juxtaposed with Americana feels very Lynch. The beginning portion is just way too slow and dull, film gets much more engaging further in and the mystery aspects keep you guessing. Could have used more time with "Willie". Do not like the intro's spookiness, would work better if phased into it slowly 3.5
Deeply unsettling - all the moreso because, unlike Mulholland Dr, the horror stems from the domestic and the banal. I can't follow the exact plot permutations, but the nightmarish distortions of the basic human desire to be liked and admired hits like a ton of bricks. Altman's direction is as fluid as the water in the spa. This demonstrates why the loss of identity can be so terrifying.
Link between Bunuel and Bergman towards Lynch. Visually appealing, witty, and quite intriguing story-wise! As a deconstruction of female consciousness, something Altman did from time to time, it's far more complex and a lot comprehensive than his earlier try in "Images", or sole character study like in "Nashville". And all of those are great films.
Eerie and Bergman-esque. Reminds me of "Persona." Every single shot is beautiful or striking, and the editing/dissolves are entrancing. Duvall and Spacek are spell-binding. I could've kept watching this for hours. And, hey - now I know how to make a tuna casserole.
I'm not entirely sure what to think of this film. It's definitely an interesting, worthwile watch, a good film in many regards. I love ALTMAN's playful, creative and varied style, time and time again. I think I wasn't prepared for such psychological absurdity, which rather than surprise me in a positive way, rather struck me as uncredible and odd. Mixed feelings for me.
91/100 (Estetik tatmini arayan, kendi zevki için film yapan, gişe başarısını umursamayan, dünyanın anlamını çoktan çözmüş birisi film yapınca böyle oluyor sanırım. O kadar uzun süre olmuştu ki böyle "hayal" gibi bir film izlemeyeli. Unutmuşum bu tadı. Persona'dan bi kaç ufak aşırtma ve karakter değişimindeki sıradanlıklar dışında kusur aramak yedinci sanata saygısızlık. Altman seni saygıyla selamlıyorum. )
You just live life as whoever you are. And one day, you're still living life, and while nothing has changed, it seems like everything has changed. And you're a completely different person. No matter how many variations of a melt you can still make, everything has still changed.
from the first dreamlike underwater sequence (like amniotic fluid) revealing placid ageing bodies plodding in a therapeutic pool, altman sets up a surreal narrative that dwells carefully upon ideas of birth, regeneration and the interexchange of self. honestly, going in, was skeptical to how altman would contemplate his female characters but his grasp of their interior lives deserves due credit.