Terk edilmiş, deniz kenarında bir tesis. Bir çağın sonu ile ilgili bir fantezi filmi çekiliyor. ikisi de film ekibinden; biri oyuncu diğeri yönetmen iki kadın Apocalypse ve Joy, yaşadıkları aşk ilişkisinin bitişine yaklaşmışlardır.
Bu film şu anda MUBI'de oynamıyor ama şu anda oynayan 30 diğer harika film var. Lütfen Şimdi Gösteriliyor sayfamızı ziyaret et.
Even the self-indulgent celebration of artifice needs a substratum of relevance to real issues, all entirely lost in the magnification of hybridities (gendered, bodily, genre-related) that occupy Mandico's universe. Yet, for all the ingenuity in some scenes -which could have provided opportunity for serious reflection on filmmaking and after- the film operates like a bloated neon-aesthetic of the end of the human.
PC. 0. Wanting to do "a dirty and modern film" (as it is said), Mandico doesn't do more than the gender and stylistic update of the filmmakers who introduced the pub aesthetic in French cinema in the 1980s, Beineix and Besson, then hated by the Cahiers du Cinéma and this one now incensed by its surviving franchising.
Featuring Elina Löwensohn as a director amusingly name of Joy D'Amato, APOCALYPSE AFTER is a short but dense lysergic serenade in praise of transgression. It owes as much to Alain Robbe-Grillet and (stated outright) Jean Cocteau as it does exploitation cinema or the work of filmmakers like Guy Maddin and Gregg Araki. I'd like to take the opportunity to pronounce that Vimala Pons is my favourite gladiator in all Rome.
This is my SHIT! That is some pure art right there. So rock n roll. I need to learn more about the costume designer for this because that fashion was inspiring af. Will definitely be revisiting a few times, and next time maybe paying attention to the subtitles more. First view purely absorbing the experience. Thanks Mubi for introducing me to this work of art.
To try and write a synopsis on what I just watched is a royal headache. Mandico is fast becoming one of my favorite directors, visioning neon poetry through his absurdist lens. In love with his production designer and gaffer. Maybe a few more watches of this one and I’ll understand it better....
Bertrand Mandico n'en a pas fini avec ses délires érotico-esthético-organiques ! L'inévitable Elina Löwensohn campe ici une réalisatrice sulfureuse, se perdant en fantasmes dans une quête désespérée de sa jeunesse perdue. Un hommage "ultra concentré" au cinéma underground des années 80, qui a le mérite d'aller jusqu'au bout du kitsch et de l'artificiel. Comme dans un film bollywoodien, le "too much" devient naturel…