It succeeds at capturing the balanced contrast between Wintour and Coddington and their respective strengths. Yet Wintour is inscrutable by need and choice. It makes her inherently opaque when insight is required for the film. Either Cutler didn't do enough to unpack this enigma or the September issue should have been observed solely from Coddington's point of view (and it is a warm and beautiful one at that).
I enjoyed watching this! Grace Coddington really is the stand-out figure... we can even considerer her the hero of this real life story, in opposition to Wintour's anti-hero persona, always looking kinda apathetic and bored but still being a true visionary nonetheless. You crave the moments when she actually shows a spark of emotion, like when she talked about her siblings' "disdain" (?) for her work at Vogue.
Me encanta que el tema sea la EDICIÓN. Soy editora y es un mundo ignorado para el cine... de no ser la película ganadora del Oscar este año. Me encantó el enfoque, que desvanalicen la moda (aunque yo no sé nada de moda) y que vean a la revista como un real reto. Placeres.
Vogue y su castrante proceso burocrático por determinar lo relevante para el mundo a través del criterio de Anna Wintour, la cual sobrepone su opinión ante los destellos de genialidad de los verdaderos individuos que montan y crean el fascinante mundo de la indumentaria actual.
Anna Wintour es excelente como personaje. Sin embargo, para acentuar su tono enigmático, inasible, hubiera sido mejor limitar sus diálogos a los mínimos necesarios para entender la trama; de cualquier modo su lado 'humano' se quedaría corto. Grace es vital para equilibrar el documental y establecer una fuerza -casi- proporcional a Wintour. La relación entre ambas es perfecta: fría y delicada, pero de mutua admiración
This is a perfect example of why I've joined MUBI: this is just the sort of thing I'd never search out or watch but as it was there I did and was pleasantly surprised with how curiously fascinating it was. As is often the case with good documentaries they really seemed to get the subjects' confidence and the two leading players, Anna and Grace, really did shine out and their mutual respect was, eventually, made clear
I actually rather enjoyed this, frothy though it is. I was expected Wintour to be utterly wintery, but she has plenty of humour, not to mention a whole matching Louis Vuitton set of Baggage when it comes to her 'seriously successful' father and brothers. So powerful, and yet the daddy-pleaser so close to her surface. And the look of love on her face when she observes her daughter is quite, quite moving.
I'm not convinced that the people who've described this as shallow have watched very far into the film. I've never been someone who's 'got' fashion, but it made me want to run out and buy a Vogue just to look at the pictures. A great insight into the creative energies that go into building one issue, with two talented women with an interesting relationship. I felt more sadness than ice from Anna.
There are no good films about the fashion industry! This is because the characters are so vapid and the subject matter so ridiculous that there's no space for empathy or catharsis (don't say DWPrada or Zoo'der - they're 'set' in fashion, not about fashion). Someone needs to make an Opera that deals with the fashion industry - where histrionics and fake emotion won't seem out of place.