One morning in Paris. A fistful of adolescents, from different backgrounds. Individually, they begin a strange dance through the labyrinth of the metro and the streets of the capital. They seem to be following a plan.
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This one does not make it for me. It was impossible to care about anything - and I kept thinking to myself: wait, there's going to be something amazing because people are talking so much about it. Current? Yes. But so many others showcased urban paranoia much better. It has promising scenes though, but they seemed a bit on the music video side. Bonello has done better.
I was held in total thrall for the first half-or-so of NOCTURAMA, certain I was watching a masterpiece. By the end, alas, I was irritable and exasperated. In the department store safe house section I think the film continues to have lots of good ideas, some of which are well-executed, and it's actually in spite of exemplary nuts and bolts movie-making that this thing keeps tripping itself up. Ultimately a real chore.
Bonello's adaptation of The Consumer Society + The Spirit of Terrorism by Jean Baudrillard features killer homages to, among others, George A. Romero (Dawn of the Dead) + John Carpenter (various films) + Tom Clancy's Rainbow Six Vegas + Alan Clarke and a dash of Leo Carax. INSTANT CULT. A MASTERPIECE OF PREMEDIATION. TERRORIST CHIC. If you like this, check out Nadav Lapid's Policeman (2011) as well.
2 star film, but you could give it a extra star for some of the camera work thats in here. The film started out really great, than proceeded to divulge into boredom, unease and directionlessness, it's like it has yet to figure out what movie it wants to be. I'm pretty disappointed, due to the fact how truly impressed i was by Bonello's House of Tolerance (Which is one of the best 20 or so films of the last 10 years).
I have some qualms about how the effects of the second half seem to be premeditated, but this is still a pretty expansive, brilliant film. The first half is pure digital-age Bresson, with an eerie matter-of-factness that contemporary cinema is not used to, and the second is a consumerist-metaphysical journey, a falling into the abyss of youth culture, with various hints at Buñuel. Uncompromising.