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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Terrific opening titles, poster, soundtrack, cinematography, cast... and one terrifying little boy that already belongs in the pantheon of creepy kids in cinema! Cleverly leaves the question open: is evil born or raised?
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.
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?
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.
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.