The rise of fascism in the 20th Century tells the story of a young American boy living in France in 1918 whose father is working for the US government on the creation of the Treaty of Versailles. What he witnesses helps to mould his beliefs – and we witness the birth of a terrifying ego.
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Unsettling, for sure, but kinda a little adorable too. But you know what's not adorable? Families. All families are monsters. And, of course (it suddenly strikes me as soooo obvious), both Gothic horror and incipient fascism are equally about that monster. So here it is: Gothic horror about incipient fascism. And how many other American child actors are growing up to direct movies influenced by Alexander Sokurov?
Seeing title sequence like last sequence of "Come and See," I think yeah this is easily masterpiece as I expected but I was completely wrong. Ambitious yet not-so-accomplished, tepid and over-prolonged movie which successfully walks only when rings Scott Walker's magnificently sinister score. Although surely its last sequence is kind of thing I've never seen before, this means not Brady Corbet is great but Walker is.
"In that forest, the blend of freshness and degeneration gave a plausible tone at the time."(João Gilberto Noll in Continental Solitude). With Walker's symphonic and electronic abstrac score of a pure psychotic compulsion, it's an experience of dissolution where the framework of an icy loneliness writes the limits of the individuality: the formality of an i-recognition. The end is an indisputable whirlwind.
Painfully pretentious. The director meditates more on his own virtuosity than the story. The cinematography was quite something, and the score was an absolute triumph - but the storytelling falls flat. While critics are foaming at the mouth over this, I was left utterly disappointed and angry. Airy, pretentious nonsense that tries to draw a parallel between mild tantrums, the fall of Europe, and the rise to Fascism.
Corbet's directorial debut equal to Gosling's 'Lost River' effort. Two exciting actor-director talents willing to create edgy polemical cinema dealing with topics as varied as isolated dystopias and signs of fascism.
Coma fa una figa del genere a stare con piero angela???? Il film è una merda totale, sembra una puntata lunga d'elisa di figombrosa o qualche soap da culorotto trasmessa da mediaSERT la domenica pomeriggio quando c'è la sosta della serie A, soundrtack dozzinale e senza senso, frocinson che si sdoppia, brady CoBret che nel finale collassa x overdose e riprende accazzodicane...ma poi che cazzo di nome è prescott???
Second watch:Suffocating: the EFFORTLESS masterpiece of the year? As soon as Walker's thunderstorm cellos glaze over an intertitle called The First Tantrum,it sets up a promise that culminates in an ending that is perfect to the point of giddy shaking & tingling. Where did Corbet come from & what is his business doing something this good? A fable, in his words "not didactic but sensorial". It's a dragon.[cont.]