Things happen, though often quietly, creating a flowing, crystalline ordinariness that, in its very naturalness and in its lack of dramatic inflection, strengthens the realism. His reserve is essential to his visual and narrative approach but also feels like a worldview. Scene by scene, there’s more going on in any five minutes of ‘Drive My Car’ than in some movies in their entirety it just happens to unfold, like real life, at a more serene clip and a lower volume.”įor the New York Times, Manohla Dargis wrote, “Hamaguchi’s touch - delicate, precise, restrained, gentle - overwhelms in increments. … examining the contours of a marriage that, as with every marriage, only its participants can ever truly understand. It’s also a story about storytelling, in which art and life don’t imitate so much as embrace each other, becoming intimate, ultimately indistinguishable bedfellows.
#Driver for brother ped basic movie
It was born out of a kind of helplessness I felt in the face of these unfathomable powers and echelons of power.”įor The Times, Justin Chang wrote, “Perfectly paced, intricately structured and entirely absorbing, ‘Drive My Car’ is a movie about love and grief, full of winding journeys and unplanned connections. And the way that the Epstein stuff sort of touched on a larger conversation around the ruling class, I guess I thought it was really interesting and compelling. On why she drew upon the death of Epstein as inspiration, Nekrasova said, “Living in New York, it felt like a huge deal. I spoke to Nekrasova when the film premiered earlier this year at the Berlin International Film Festival, where it won the prize for best first feature. This leads them into a world of the powerful and possibly the paranormal, as Nekrasova pays homage to Italian giallo thrillers and Stanley Kubrick’s “Eyes Wide Shut.” Noel Murray reviewed the film for The Times, saying, “It’s hard not to be impressed by the sheer level of ambition in writer-director Dasha Nekrasova’s debut feature, ‘The Scary of Sixty-First.’ … But grand ideas don’t automatically produce great cinema.” The film is a wild mix of conspiracy theories and psychosexual freakouts as two young women learn the amazing-deal apartment they have moved into was once owned by disgraced financier and convicted sex offender Jeffrey Epstein. It’s now playing in an exclusive 35 mm run at the American Cinematheque at the Los Feliz 3, and Nekrasova will be appearing for Q&As on Friday and Saturday nights. Subscribe wherever you get your podcasts.ĭasha Nekrasova, who’s a co-host of the popular and controversial “Red Scare” podcast and can be seen on “Succession,” makes her feature directing debut with “ The Scary of Sixty-First.” She’s also a co-writer and co-star of the film. So, there are definitely things I can relate to in terms of feeling really badly about yourself.” … I think that in your early 20s, it’s very easy to get swayed into different things or thinking about yourself in a certain way, especially when you’re putting yourself out there as an actress, and you’re in a public light. As she said, “I think Rose is a very old part of myself that I had to rehash of just feeling really bad about myself, or allowing myself to feel bad about myself, because of other people’s comments or control. She talked about her character, Rose, who marries a man played by Plemons only to be psychologically tortured by his brother, played by Cumberbatch. I spoke to Dunst for the season premiere of the Envelope podcast. No one is saying, ‘That’s too hard for women.’ The Berlin Wall is down, and it’s not coming back again.” We’ve crossed over the line, and everyone wants to be on our side. “For the first time in my life since my time in Cannes with ‘The Piano,’ there are so many more women in this space doing some of the best work out there.
“Why would I now go in this direction?” she asked. Campion spoke about how the new film is her first to focus on a male main character, though it wasn’t intentional.
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