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NOTES ON AN APPEARANCE

Ricky D'Ambrose ABD, 2018
Notes on an Appearance, the bold debut feature from New York-based filmmaker Ricky D’Ambrose, is [a] work of precise abstraction, employing a Bressonian emphasis on hands and gestures and using a minimum of in-frame detail to create something beyond what we see, ingeniously crafting a narrative that never fully forms and that begs audience participation.
Ocak 15, 2019
Yazının tamamını oku
D’Ambrose’s movie, so deceptively light, is in fact a packed dossier, loaded with information and pieces of physical evidence that, by virtue of being singled out in those recurring inserts, appear to take on a heightened relevance to the case at hand.
Ağustos 17, 2018
What’s striking about Notes is its determined rigor—and perhaps a certain cerebral show-offiness, although that’s a characteristic that the film appears to send up in itself. At any rate, this film hits the viewer—assuming the viewer isn’t totally resistant to its unapologetically rarefied appeal—as a sharp, bracing draft of icy water.
Ağustos 16, 2018
The New York Times
Watching it requires learning how to watch it. Static shots are edited in a deliberately primitive style, eliding crucial bits of narrative. The camera often fixates on ostensible clues: a postcard, books, mysterious home movies in which no one is seen. . . . If Mr. D’Ambrose doesn’t quite earn his pretensions, it’s refreshing to see a filmmaker thinking so far outside the box.
Ağustos 16, 2018
What would demand fifteen minutes and probably a glorified flashback-only cameo in the industry-standard, backstory-obsessed version of this movie takes D’Ambrose just a handful of beats, all thanks to blunt, arresting shots of fetishistically accurate reproductions of Taubes-centered media coverage.
Ağustos 14, 2018
D’Ambrose’s ardent intellectualism is a sublime comedic mask. For all his gleeful fabrication of a realm of cultural aspirations and achievements, his subject is the mysteries that elude dialectics and disputations, the ones that animate the artistic, aesthetic impulse that his movie both exalts and embodies.
Nisan 5, 2018
In many ways [it] feels like a contemporary adaptation of Bresson’s The Devil, Probably. Bresson isn’t the only palpable influence; the formal rigor, staccato editing, and muted affect of the performances are also indebted to Straub/Huillet, while the narrative, structured around the existentially charged search for a central character who mysteriously vanishes, borrows from Antonioni’s L’Avventura.
Nisan 4, 2018
There are home videos taken by Taubes and, rather dazzlingly, an array of mocked-up books written by and documentation on him. . . . The amount of layout pastiche, all in a particular pocket of media consumption, is almost counterproductively impressive.
Mart 28, 2018
Are things—objects, events, utterances—inherently linked by a causational order, or do they just exist, waiting for our hermeneutic work to fill the gaps? This conceit extends meta-fictionally to the structure of the film. Some of D’Ambrose’s more inspired DIY choices . . . are Kuleshovian flourishes that highlight the role that the spectator plays in filmic construction.
Mart 28, 2018
One of the most impressive emerges close to home: From the coffeeshops and bookstores of Brooklyn comes Ricky D’Ambrose’s austere, bewildering, and unyieldingly cerebral Notes on an Appearance, an anti-mystery in the tradition of L’Avventura assembled with the cool reserve of Robert Bresson.
Mart 28, 2018
In addition to writing, directing and editing his films, D’Ambrose serves as their production designer. His eye for New York street corners, colour, planimetric framing and the graphic artistry of archival objects joins with his euphoric classical musical interludes (underscoring a bright green screen) to lend this tale of a generation’s lost economic agency operatic import.
Mart 21, 2018
With its classical aesthetic and paucity of modern conveniences and epochal notables, Notes on an Appearance exists in a kind of timeless realm, one where things change so often that it's difficult to keep track. D'Ambrose views Brooklyn as a fugacious thing, one that, like David, is there one moment, gone the next.
Mart 19, 2018