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Eleştirmen yorumları
Monrovia, Indiana
Frederick Wiseman ABD, 2018
Through the eyes of America’s greatest novelist/filmmaker, this is a land of majestic natural beauty and agricultural plenty.
January 02, 2019
Yazının tamamını oku
In this quietly political Trump-era documentary, Wiseman offers a long, searching look at a small American town where homespun charm exists side by side with steadfast isolationism.
December 05, 2018
Yazının tamamını oku
Wiseman’s film humbles the rest of us to the ways in which we rely on, yet take for granted, the basic necessities and resources provided by rural America.
November 10, 2018
Yazının tamamını oku
Wiseman, who has long described his artistic approach as being ‘more novelistic than journalistic’, is not after political evaluations and there is tremendous value to be found in his revisiting these clichés and surveying them anew.
November 07, 2018
Yazının tamamını oku
With Trump, Bannon, Putin and Co. having sucked enough air from the room, having proven plenty capable of enduring whatever broadsides the old guard documentarians have to offer, redirecting attention (and comparatively big budgets) to other faces and perspectives is what feels truly oppositional, and politically necessary, in our current critical moment.
November 02, 2018
Like Abbas Kiarostami’s 24 Frames, which played here earlier this year, Monrovia develops a fascinating internal tension between momentum and tedium, and like Kiarostami’s film, it’s at its most commanding when people don’t factor into the action.
November 01, 2018
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Wiseman’s portrait reveals emptiness that’s subtle and unforced but becomes devastating.
October 26, 2018
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While there’s no reason to suppose that this is Wiseman’s last movie, it doesn’t seem impossible that, at 88, he is aware of lengthening shadows and autumnal tints, of the fragility of perception and the finite nature of consciousness. “Monrovia, Indiana” is not precisely about any of those things, but it carries intimations of them, elegiac strains amid the doggerel of daily life.
October 25, 2018
Yazının tamamını oku
It’s hard to think of a Wiseman film as personal, given his formal discipline, but he has the end on his mind here and seems to appreciate how the townspeople ease their own into the next life. It’d be the perfect career-capper — if he were the type to ever call it a career.
October 25, 2018
Yazının tamamını oku
For all its sense of stifled energy and moral implosion, it’s a calmly analytical film in which—as ever in Wiseman’s work—extended discussions and public debates are developed with an absorbing dramatic power.
October 25, 2018
Yazının tamamını oku
One key attribute of Wiseman’s work has always been his insistence that he’s arrived at a shooting method that’s objective, in the sense of not altering how his subjects act. But objectivity of shooting method is not the same thing as having no POV, and Monrovia strikes me as a fairly devastating portrait of a community on auto-pilot, secure in Values that produce absolutely nothing worth talking about.
September 30, 2018
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It is the planning committee that becomes the fulcrum for the film’s political conflicts. Wiseman has a longstanding talent for spreading out quotidian conversations over the course of a film until they take on a sort of novelistic sweep.
September 30, 2018
Yazının tamamını oku
The scale of the film is fairly modest for this director of sprawling inquiry, and runs shorter than most of his pictures, which means the film’s articulation of this argument is less firm than its knife-like evocation of an atmosphere—but this is perhaps befitting a documentary that approaches the feeling, as a friend remarked, of a zombie film.
September 10, 2018
Yazının tamamını oku
Is Monrovia a place without a soul? Wiseman, who shoves everywhere and observes everything with his usual mix of humour and astute political criticism, eventually finds small traces of humanity where they seem to have disappeared, and this is still the first goal of the incomparable beauty of his ongoing opera.
September 08, 2018
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Yes, the population is shown to be conservative and Christian, to love guns and junk food, to be almost uniformly white, but lacking a novel perspective, a process to observe or a substantial thematic thread to follow, we’re mostly left to project our own prejudices.
September 06, 2018
Yazının tamamını oku