劇場版 美少女戦士セーラームーンCosmos 前編
The modern era of musicals moves fits and spurts. Over this young century, the form has repeatedly fallen in and out of fashion. 2021 was an on year—one pulsing full of musicals, which ranged from towering works like Steven Spielberg’s West Side Story remake to the dreaded and thoroughly mocked Dear Evan Hansen. Many of them were quite experimental too, like Leos Carax and Sparks’ Annette and Lin-Manuel Miranda’s tick, tick…BOOM!. But even against that august competition, Joe Wright’s Cyrano carves out a place as one of the most imaginative musicals of this modern era. Although The National’s newly-composed songs don’t immediately gel with the iconic story being told, Cyrano makes its way towards a moving, complex finale, thanks to a stellar set of performances. Continue Reading →
Paul Thomas Anderson set out to make a love story with Licorice Pizza, and ended up creating his most joyful flick to date. Seemingly lacking is the dark heart so many of his stories contain, whether it’s in the wildly toxic relationship between designer and muse in Phantom Thread or brutal depictions of loss and loneliness in Magnolia. Instead, Licorice Pizza has a lightness he hasn’t truly approached since Punch-Drunk Love. Continue Reading →
Ryusuke Hamaguchi adapts a Haruki Murakami short story & gives it additional depth & soul.
Interpretation is a complex beast. In terms of language, not even the most literal one is left entirely untouched by the person making it. In the case of longer work, a translator can take on a far more hands-on role, making a novel or film in translation a product of its interpreter as well as its original artist. In some cases, this influence can be significant. Translators and editors have played such a massive role in the way that English audiences understand and appreciate Haruki Murakami that writer, translator, editor, and creative writing professor David Karashima wrote an entire book on the topic in 2020.
Interpreting prose for the screen comes with its own nuances, and its own symbiotic relationship between the writer’s vision and the filmmaker’s. Translating Murakami’s writing for the screen is perhaps even more complicated, given the nature of his stories and how he tells them (or at least how I understand them based on the English translations I’ve read). Continue Reading →
Fran Kranz's debut is an emotional whopper of a drama, a vivid actor's exercise with incredible performances and passionate ruminations on the aftereffects of tragedy.
(This review is part of our coverage of the 2021 Sundance Film Festival.)
One would be forgiven for thinking writer-director Fran Kranz's debut feature, Mass, was based on a play: it's a long, claustrophobic affair, set mostly around a folding card table set meticulously in the middle of a church basement by nearly pathologically-Midwestern church staff in the film's opening minutes. We don't see who's going to sit in them for quite a few minutes, but the way the kindly, empathetic Judy (Breeda Wool) talks to their facilitator Kendra (Michelle N. Carter), we know we're in for an emotionally-loaded experience. By the time Mass's two hours are finished, we're as exhausted as Kranz's subjects, but grippingly, cathartically so. Continue Reading →