Digital. Sachs confined himself to the role of a modest narrator of more or less uplifting stories of tenderness and respect for characters, well structured and composed (magnificent Michael Barbieri and Theo Taplitz). Often, in the same frame, there is focus and blur according to the character who speaks, which is an uninteresting practice of film grammar. Anyway, again, far from is admirable first feature film.
Real art. We might be used to the subject matter. Definitely firmly planted on established ground. But this is unabashedly elegant filmmaking. Elegant is absolutely my word for Sachs' meticulous formal vision. Elegant, elegant, elegant. And deft handling of politicized subjects relating to gentrification, privilege, and ethnicity. Human complexity and shades of grey. Empathic score helps deliver considerable emotion.
A fraught, moving domestic drama that explores the complexities of community, class and friendship. The potential of the two main protagonists, friends on the cusp of adolescence with clear intellectual potential and a flair for acting, act as the beating heart of the film as overseers of their parents' conflicts and clashing politics. Well worth a watch.
4 étoiles pour Brooklyn Village qui clôture la trilogie new-yorkaise. 3 portraits de couple, de trois générations différentes. Le meilleur restant à mon avis, Keeps the light on, dont les préoccupations économiques s'effacent au profit de ce qui est au coeur de son cinéma: qu'est-ce qui réunit deux êtres ? Qu'est-ce qui perdure au gré du temps ?
Unfavourably programmed by MIFF for just after 'In Jackson Heights', which really made the more objectionable justification for gentrification stand out. I love coming of age stories, and the little men are both great, with the best scenes usually just them and music playing. The adults thing is fine but flat, and Kinnear seems to be going through the dullest mid career crisis. Certainly inoffensive, but unremarkable