It’s a solid movie—a total slice of real-life family drama with that flawless directing and acting you always get from Farhadi. Still, something just felt missing to me, and I can't shake the feeling that it falls a few notches short of A Separation, which was honestly a masterpiece and one of those rare perfect 10s I've seen in years. This one just didn't grab me quite as much—it lacked that spark, and I actually found myself feeling the runtime a bit too much. There were moments where the characters' reactions felt... off? Not the acting, mind you—because again, the three leads and even the kids are phenomenal—but maybe some questionable writing choices. So, overall, I'm on the same page as Rachel Ortiz33. My rating? A strong 7, leaning toward an 8.
[And since we're debating actress beauty (wtf 🙄 I didn't expect that from you, 593 😁), I think both are pretty, but they aren't exactly bombshells. Though, I don't really get the hype about obsessing over Cotillard, especially since most of the world sees her as a total knockout anyway.]
Richard Johnson42 said:Dogtooth—honestly, just licking the keyboard at this point. Nothing else to say. 🙏
Oh, really? Do I even care how much it changed your perspective? 😁
casualgull said:If I had to pick just one movie, it would definitely be A Clockwork Orange (1971).
Likewise—though, it wasn't exactly a total mindset shift or anything, more like my first real brush with... well, actual cinema. You know, movies as art. I was about 14 at the time, and it finally clicked how powerful film can be, and how many weird little worlds exist outside of my own bubble. Later on, I realized they're just slightly more insightful and imaginative ways of looking at the same old world we live in. 😁
I was about 12 or 13 back then—just this super curious kid, though I wasn't really into movies at all. One day, my older brother is scanning the paper and spots a Stanley Kubrick marathon on PBS, and he circles A Clockwork Orange like, "Oh, we're definitely watching this." When I asked him what it was, he just goes, "Man, this guy is a total nutcase. It’s definitely not for you—it’s super bizarre and disturbing." Naturally, that was all the motivation I needed. I looked up the description and saw that terrifying shot of Alex with that headgear thing and his eyes wide open—it totally freaked me out, but I was hooked. So, that evening, my brother sits down in front of the TV, flips on PBS, and there I am in my pajamas, hovering in my room with the door cracked just enough so he won't catch me—my heart is pounding, but I just *had* to see it! And then it starts. That creepy red backdrop and that ominous music... *gulp*. As soon as Alex popped up on screen with that eye thing, I practically let out a squeal and slammed my door shut. That scene really shook me up. I kept thinking about the movie for about a year after that. I started Googling stuff here and there, watching little clips... but I just couldn't bring myself to watch the whole thing—too traumatized! Finally, somewhere around my sophomore year of high school, I sat through the whole thing. Since then, it's probably stayed one of my top favorites, mostly for the nostalgia, but then—of course—you start digging a bit deeper into it.
That specific feeling of being unsettled mixed with this weird fascination (which came from exploring the "unknown"—basically a side of cinema I hadn't seen, maybe even felt "forbidden")—that first realization that what I was watching was actual Art... I don't think I can ever experience that feeling again.
And that whole scene where he's just chatting away in the car with his daughter (honestly, I can't tell if she's actually his kid or just another one of those weird 'assignments' they give him).
That poster? Definitely worth framing and hanging right in the middle of the living room.
Honestly, I found it pretty dull and just didn't hit the mark for me. I actually mentioned this in my own review on this PDF—I really don't love it when a movie only becomes interesting once I start reading about it after the credits roll.
I'm not holding out much hope that someone will "enlighten" you either—because, like I said, even certain interpretations of what the poet was trying to say "enlightened" me, but that doesn't suddenly make the movie great.
Here were my bright spots, though:
- Those Parisian streets and squares - That scene with Mr. Merdeom—so absurd, bizarre, and beautiful. - That part where he's running with a machine gun in front of a green screen - Discovering this song - One of the most beautiful scenes I've seen lately. Seriously, I keep rewatching it. - The ending—the "arrival" home, paired with Revivre and that melancholy vibe... well, we all know what's waiting for him at home. 😁
Maybe it's just me—I've never been a huge fan of movies that constantly slap you with symbolism or feel like every single frame is a metaphor... But man, I really expected it to be at least super engaging. It wasn't; I actually had to watch it in three separate sittings.
I did find this, which is the director's explanation of the film: 'I suppose I was trying to describe the experience of being alive in the internet world. The different lives we are able to live. The fatigue of being oneself. We all get a little tired of being ourselves sometimes. The answer is to reinvent yourself, but how do you do that and what is the cost?'
On one hand, you have an identity crisis in the tech age and replacing old "machines" with new ones; on the other, it’s a commentary on the modern film industry, CGI, and maybe even a tribute to that "invisible" crew that keeps every production running... You could dig deep and find all sorts of meanings, but again, the movie itself just didn't pull me in enough to want to dissect every single scene.
Honestly, those kinds of explanations just don't land for me—if they’d actually shown those "traumas," I probably would have been 🤮 Plus, you don't even need to have some deep-seated trauma to enjoy a movie. But hey, maybe I'm just being picky—like electriccanyon26 said, if they went that route, it would be an entirely different film. For me, this works fine as a quick adrenaline rush—a solid thriller where deep character studies might actually feel out of place. Still, I can't help feeling like it missed a chance to tackle a more interesting theme. boohoo: 😁
kajaznati, just imagine if this had been directed by someone like Polanski.
+1, honestly, I don't even love them that much normally—and I was in such a funk earlier—but they totally lifted my spirits. That whole masked thing at the start was 😍 Wait, Midnight City, then later that super stylish electro vibe with 🙏 . Plus, they’re just such sweet, lovely people. Seriously, major props to them.
Eh... it’s nice, sure—but still not quite enough for $100 ☕ + they have a new album dropping soon, which means most of their setlist is gonna be all new tracks. Bummer.
Could someone please upload a recording of Souvenir of China if you have one? I’ve watched a million different versions online, but I’m dying to know what it actually felt like live in New York City ;(
Man, I really wish I could've been there for this one.
I’ve noticed he doesn't really stick to a fixed setlist—sometimes there's more Oxygène, other times it leans into Equinoxe—but honestly, I don't care. Whatever he plays, I know I'm going to have a blast. 🙂
Though, I might end up missing Zoolookologie down the road.
I’ve always felt the real value of this movie—the original, obviously—lies in how much it reflects its era. It isn't just about the violence or that sudden shift where a peaceful guy turns into a total brute under pressure—though that's definitely part of it—but also because of that infamous scene with the woman. I won't spoil it, but I am genuinely curious to see how they handle it in the remake. Anyway, I'm with Mr. X on this one; I wouldn't call the film a masterpiece in its own right. For me, it was always more about how it broke those social taboos back then. I wonder if a remake can even shock anyone anymore or raise new moral questions, especially given everything we're used to watching these days.