A story about changing seasons and changing attitudes, a newly accomplished writer faces mistakes and miseries affecting those around him, including his girlfriend, her sister, his idol, his idol’s daughter, and all the ex-girlfriends and enemies that lie in wait on the open streets of New York.
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Listen Up Philip was for me the most intelligent, original, intricate and best-directed narrative film of Sundance this year… Rarely has a narcissistic, unsecure male artist’s creative process been dissected with such accuracy. This is the world we live in.
…Perry himself is not yet even 30. That gives this remarkably achieved feature a precocity nearly equal to that of the prodigal fiction writer who rests at its center, honing his craft at the expense of any and all meaningful relationships in his life. It’s a familiar tale, but one told by Perry with immense filmmaking verve and novelistic flourish, and acted by an exceptional ensemble cast.
ARP paints a razor sharp picture of a generation of entitled, bitter, insecure, arrogant assholes. Loved it because I've loved so many of them and feel inappropriately satisfied in seeing them lampooned.
In an indie scene saturated with neurotic intellectuals and lost hipsters, ARP's films stand out in a way that, say, Noah Baumbach's don't. Partly this is because of his choice of music and film stock. But mostly it's because he cuts deeper. At his best (this isn't it), his movies are as savage and uncomfortable a view of love as Fassbinder's—a better comparison than Woody Allen. If only he could do more than cut.
It is such a daring film, in its frank portrayal of the common anti-hero in Schwartzman's character, in its humor and in its turn back to quality cinema from the '60s and '70s. I was impressed by the utilization of the English language within the film, often containing sentences that blow you away with their eloquent complexity. If you enjoy indie film, this is an important one to catch while you can. It is a trip.
Misanthropy and male dysfunction are always fascinating themes. However, there was nothing particularly groundbreaking in this comedy drama exploring the masculine psyche. Watchable, if formulaic, in an indie sense.
"Indie" cinema # 7: the chatter. Reiterating overworked themes of egocentrism and chauvinism, this film stretches up to the bearable the schematism that has characterized the recent books of Philip Roth and the independent cinema from New York, crystallized in "Husbands and Wifes" by Woody Allen: handy camera that pretends narrative freedom to a tiresome reiteration of an autophagic narration.
Pareciera que Alex Ross Perry tiene un plan (no tan) secreto para derribar por completo las ideas que uno tiene del indie americano. Si en su anterior "The Color Wheel" destruía el concepto clave de la road movie melosa introduciendo sordidez, aquí toma el axioma del intelectual neoyorkino egoísta para realizar una especie de despojamiento del cine de Wes Anderson. No solo consigue eso, sino tambien un film brillante