Michaela Grill's visual work makes use of a concrete wall as the smallest identifiable element of urban music culture which forms a space. The visual organization of this barely recognizable representational surface is resolved through Takeshi Fumimoto's musical structure. The images illustrate neither the tone nor the rhythm; they follow the logic of the acoustic blueprint to create new forms of hearing through the processing of the found sounds. The camera makes a parallel searching movement along the rough surface. The images, which cannot be isolated, resist a representational aesthetic, and fleeting spatial landscapes and forms which illustrate non-repeatability and improvisation appear in the tension between concentration on the cracks and fractures and the camera's movement across them. Reduction to the plastic and sensorial basis sensitizes the viewer's gaze by making the structure comprehensible.
An uncomplicated, family-oriented man struggles to adjust to an ever-changing world, especially after suffering a loss. Even for the early 1900s, a less complicated time in many ways than now, Robert Grainier (Joel Edgerton) is a simple man.
CODA' is about a child of deaf adults torn between staying with her parents and her dreams of pursuing music. This film is a step forward for deaf representation and disability in movies despite negative messages about the burden of actors deaf deafness.
Its predictability shouldn’t distract from the enjoyment that the pure cinematic imagination behind the camera elicits. It is a movie of crises both moral and mortal, oozing with CGI, and thoroughly enjoyable.
In Amazon’s new shark flick, The Devil’s Mouth, terrible tourists finally get their comeuppance while two estranged best friends must overcome their petty squabbles to survive as the rest of their party gets chomped one by one. While it’s by no means an Oscar winner, The Devil’s Mouth is good old fashioned shark week carnage with a tourist critical twist, perfect with popcorn, a friend, and a healthy does of schadenfreude.
At its heart, it’s a fond tribute to an influential artist and thus one that can speak to everyone’s inner artist, even if it lacks the sincere commentary you may wish to see.
Pressure is an unambiguously great movie, lead by convincing performances, a well-crafted script, good direction, and at least some social awareness.
