
Hidden deep in the south of France, practically untouched by the modern age, is a place known by many as 'the Zone'. In this space, the supernatural is an everyday reality of life. Magic is everywhere. It is reason. It is currency. It is unquestionable fact. Prepare yourself for a journey into life on the other side of the mirror.
Why did Māhū, a term once respected in Hawaiian culture, become so controversial?
Strangers in a crowd, exchanging glances, looking away, continually managing to run into each other then part ways, end up at the same diner, find they've rented the exact same vehicles, and are then made to travel together to learn once more whether they can both find genuine adoration and companionship again. This really does, in so many words, sum up the foundational gist of of this new feature film from writer Seth Reiss ("The Menu") and director Kogonada ("The Acolyte", "After Yang"). Yet, it's all only the set-up for the REAL wonder of everything that happens before, during, and in the aftermath of a magical, meaningful journey.
The major flaw of the series is that it’s hosted on Netflix and barely makes malicious comments about it despite being focused on the lives of people directly affected by the Capitalist mentality of the OTT corporation.
The differences in these films could not be more blatant, and yet Gus Van Sant has found a way to portray the same messages and use the same techniques in each.
This current year, as well as the past several, has seen a slowly building increase in something the horror genre has required for quite a while in this critic's opinion...originality. I've stated before that I am very hard to please when it comes to this vein of the film industry's offerings, always leaning more towards that which sends chills through my very being in lieu of buckets of blood and gore.