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Recenzje krytyków
To my, a to ja
Michel Gondry Wielka Brytania, 2012
At its finest and most affecting, The We and the I is a window onto youth’s forever moments, those heavy gaps between school and home, senior year and summer, the person you are and the person you hope to be—when the future is a distant void and all the best and worst parts of life span the length of a city bus.
March 14, 2013
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There’s the constant sense that Gondry views these kids the same way he thinks of his props: just movable figures to be idiosyncratically manipulated. By the end of the ride, the movie’s messy humanity has officially calcified into After-School Special clichés; given the choice between handcrafted whimsy and heavy-handedness, we’ll take the former, thanks.
March 05, 2013
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The kids start out ensconced in specific groups based on race, culture, and personal taste, defining themselves as class clowns or tough guys or sensitive artists, but the ones who stick around longest get impelled toward singular identities as the bus empties out, the carapace of their assumed personas giving way to moments of real emotional vulnerability.
March 02, 2013
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As is to be expected, the film has a few thespian misfires; similarly, its multidimensional scope prohibits the narrative from focusing on any single character. At least, that is, until the very last scenes, at which point only a few riders remain. But the fluidity and immediacy of Gondry’s eye (and camera), and the film’s identification with a city’s youthful life force are infectious. Embedded in his subject matter, the director, in essence, has gone native.
March 01, 2013
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Sadly, Gondry, in the name of democracy, or liberalism, or perhaps his own sociological predilections, ceded entirely too much thematic control to these blinkered, immature kids, so the result, finally, is a film that celebrates bullying, aggression, misogyny, and general teenage assholery… As a final product, The We and the I is a depressing look at mean, unpleasant kids who, due to their underprivileged status, have been “given voice.” They didn’t do much with it.
March 01, 2013
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If the production mimics some of the handheld self-absorption of mumblecore, it is also a rejoinder (and in the context of TIFF, the anti-Frances Ha) to movies about “white people problems.” And all the more welcome.
September 18, 2012
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At feature length, it feels inordinately unfocused, and a last-minute swerve into earnest speechifying doesn’t help. Still, I’d rather see Gondry experiment with small-scale movies like this than squander his creativity on Hollywood superhero spoofs.
May 18, 2012
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