3-4. As unromantic a take on Cinderella as I've ever seen, it feels like we know a touch too little about our heroine for all the time we spend inside her psyche. Granted, I greatly appreciate that the movie never languishes too long in Carol's psyche before more conflict pops up. But I can't say I think it's a whole lot greater than the sum of its parts. But it did remind me fondly of 'The Wind' and Lillian Gish.
Aesthetic/cinematic porn! In that sense, it's pretty ecstatic. Rhythm, pacing, cinematography... But the assumptions he seeks to undermine are a bit unsophisticated, aren't they? Like, easy prey? And the work is informed by and infused with its (his) own problematic world-view... (What if a Sweet Innocent Girl could be complex? Why, then she'd be out of control! The horror scenario of the patriarchy.)
It manages successfully to balance between linear storytelling and abstract filmmaking. So it offers concrete chronicle of the twisted mind while also allows diving into its abyss - interplay between sound editing and shadows concludes it as a pure psychological horror, worthy of its reputation.
эстетичность кадра, яркие и запоминающиеся сцены, которые являются неплохой аллюзией на нарастающее сумасшествие главной героини, интересная задумка и еще ворох мелких плюсов, которые долго перечислять. гротескность в поведении окружающих, особенно - в поведении Кэрол.