A very nice homage to Bergman with great performances by Rowlands and Hackman. A very personal film, with nuanced writing and cinematography which highlights the inner emotions of Rowlands in one of her best roles. A solid film in Allen's filmography also. A real surprise of a film, wasnt sure it would be this good.
There's a moment in the beginning of the film when I started to analyze the significance of the placement of the vent. It was at the bottom of the wall, a Freudian signifier. But then I realized that if it were at the top, I could just as easily make another explanation. Hence, academia is bullshit, and so are privileged aesthetes. Fortunately, this stratified milieu of the U.S. seems to be dying out.
The final 30 minutes were absolutely gorgeous and well worth watching the entire film. The set up of movie was quite plain aesthetically which matched the main character's life and mental state. The scenes of the confrontation and the resolution however were so touching and visually much more appealing.
White people, going through white-people things. Living their white-people lives, in a white-people world. But golly, I enjoyed every minute of it. "For here there is no place that does not see you. You must change your life." If I'm honest though, all this really does is make me want to watch some Ingmar Bergman. Which is exactly what Woody would want. Touché, Woody, touché.
Cinematography by Sven Nykvist. This is the film where and when Allen breath to uncertainty, made of time lapses, inventions and re-capitulations, and reworked and reconstructed filmic quotations. A brilliant piece of calculated cinema, that like a Satie gymnopédie, it's ineffably constructed and tense. With the oh-so-remarkables Gena Rowlands and Sandy Dennis.