Clearly NOT about female power. She got off on these men's affection and dedication, it wasn't about the sexual act per se. She allowed abuse and chased the abuser, she used them on an emotional level. It's disgusting behaviour, reglardless of gender. Claudia Weill's Gilfriends is about female power, not this. If we ignore the fact that Nola sucks as an individual, it's a great movie
Did this even need to be modernised? The OG is still a fierce testament to the joys of independence, expressed through Lee's pure cinematic senses, never undermined by its limited budget. I mean, of course I'll watch a version with tinder but the politics and radicalism of this aren't dated (from a filmmaker not ideal with gender!). My biggest concern with Lee is all but negated here - too much scope.
Il taglio documentaristico risulta geniale nel facilitare la narrativa e nel giustificare le sbavature causate dal tocco leggermente amatoriale dovuto all'inesperienza di tutta la troupe. Lee, seppur al debutto, è di regia solida e gusto definito, in un film divertente, ma ancora un po' esile nella sceneggiatura e nelle prove attoriali. Ciononostante riesce ad essere divertente ed attuale, meritando di esser visto.
Spike Lee's stance on race is pretty clear and I think it distracts them from his equal parts progressive and problematic depiction of the female experience. If Lee was white would we have lumped him with Baumbach, Haynes et. al. as a feminist-male filmmaker? I don't know if this movie works perfectly, but it was a lot more interesting than I expected. Bring on the TV show.
The blending of documentary style provided for me what has always baffled me with character study narratives, which is "why are we being told this story,what is the motivation for these characters to confess their private lives and who are they telling it to". So when they broke the fourth wall and addressed us directly as they were introduced, i enjoyed that. Spike should have stuck to this but politics got him.
Unique and captivating look at sex and the sexes, made with amateurish charm and confidence that raises it above average into the territory of individual and recognizable style for Spike Lee. The central performances aren’t exactly top notch, but they are effective, and the actors make you feel that these characters are, for the most part, more than caricatures, and make you invested in the unfolding drama.
Gran debút que parecía ser un síntoma más de ese fantasma de "Cassavetes" (blanco y negro, aire documental), pero nada de eso. Lee proporciona un estilo de humor con mucho criterio. No se burla de sus personajes, los respeta, cada uno tiene una amoralidad sobre los hombros, pero son simpáticos. Un círculo amoroso sobre una mujer sin ganas de dejarse absorver por el físico, la simpatía o el amor; 3 enganches negados.
Independence appears to be the banner under which all of Nola’s so-called values are tied together. Very early on in the film, the audience is told that Nola has never been able to focus. She jumps from hobby to hobby. And when she grows up, she jumps from man to man, inevitably discarding anyone that doesn’t hold her attention. The film celebrates this by ending with a self-aggrandizing address from Nola.