Sachs doesn’t make “scenes.” He sets up his characters and follows them carefully, the way Antonioni does; the editing is smooth and almost invisible. There’s nothing self-conscious or derivative about Sachs’ style. Forty Shades is not a movie about other movies, like so many of the most ambitious films of the past ten years. Sachs has something to say and as an artist he is using film to say it; he remains dedicated to a humanist investigation of overlooked people.
November 01, 2005