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Recensies
Following
Christopher Nolan Verenigd Koninkrijk, 1998
Let’s talk about something it does very well and the reason I watched it as a chaser to The Invader: its evocative use of real crowds and busy streets. The condition under which the film was shot—again, guerrilla-style over a year’s worth of weekends, with no real crew and a handheld camera—puts it in conversation with its themes. It isn’t a very sophisticated film, but it is very self-reflexive, in the way that its limited means reflect both the misdirection and the voyeurism of the plot.
June 02, 2017
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Following is that rare debut in which a formidable creative personality seems to have sprung upon the scene fully developed. All of Nolan’s abiding obsessions are in evidence: the boldly nonlinear chronology, the liquid sense of identity, the involuntary spasms of memory.
December 12, 2012
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…Following has been rigorously constructed on every level, but there’s an illusion of improvised spontaneity that’s usually not present in the director’s work. Objects, which are always imbued with multiple portentous meanings in Nolan’s films, are cannily used in Following to keep us apprised of the shifting chronologies as well as to assert the nameless man’s metaphorical longing for a life that’s permanent and tangible, a life he ironically pursues by wandering the streets.
December 11, 2012
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Without being bombastic, Following takes itself damn seriously, and its relationship to Nolan’s later movies is unmissable; it’s a real treat to see the biggest studio director of today whittled down to novella-size. The movie is less “claustrophobic” for its lo-fi synths and black-and-white 16mm than for the perverse thrill you get from knowing its conceptualizer-in-chief is the guy walking (often, running) with the camera.
September 12, 2012
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