Diary Entry forMay December
when elizabeth told joe that he could start over and joe answered with “to do what” is so disturbing because it emphasizes that he never had a life, he never truly grew up, he was still at the same age he was mentally, he was stuck in that time and this is the only thing he knows. that fight between him and gracie further proves that, with the way she keeps dismissing what he’s saying and the way he was so fidgety and stuttering like he did something wrong and explaining it to his parents. the way she keeps insisting that he was the one in charge, that he was the boss, that he seduced her, it was all so disgusting. in the first half of the movie you can also see how much gracie makes herself be younger than she is, with how much she cries over something so out of pocket and letting joe comfort and console her. like its a part of the manipulation and the grooming, she makes him feel like he has an obligation and responsibility with her so he has to be the mature and rational one between them its sick. its also so sick that she knew from the start that they crossed a line and she knew what she did is wrong but she still think she’s a good person crazy. gracie you are going to the deepest pits of hell and you will burn for all eternity. great acting from the three leads, it’s understandable that they’ve been getting critical acclaims. julianne moore’s lisp was too good and the way natalie embodies julianne was incredible while charles captured that childlike innocence and a traumatized adult even with the most subtle movements. its such a great watch seeing all of them act alongside each other.
Other Diary Entries forMay December
May December
uma historia com uma ideia interessante
May December
Not a bad film but any means but one which I found difficult to enjoy. It moves incredibly slowly and there’s not really much going on. After the first half hour you understand that Julianne Moores character is a deranged pedo, and after that the rest is just fine. A couple of good scenes here and there but as a whole to felt dull. Both actresses were fantastic in this, as you’d expect, and they really were the best part of the entire thing. Apart from them though I didn’t really enjoy this much.
May December
Não tenho palavras pra dizer o arrependimento de ter enrolado tanto pra ver. Que filmaço.
May December
1. Existe um artifício mitificador impresso na maneira como Haynes enxerga a presença de Portman e Moore em cena para além do óbvio já estabelecido com suas carreiras estruturadas no cinema hollywoodiano - ambas já aclamadas como atrizes "de prestígio", ganhadoras do oscar, etc. Sempre que dividem o plano, o espaço cênico se apropria de uma lógica surreal, como se testemunhássemos um milagre - a iluminação extracampo, a presença dos espelhos como mediador da dinâmica transcendental na mise-en-scène; nos melhores momentos, se assemelha a María Luisa García e Isabelle Pasco ou Bibi Anderson e Liv Ullmann, alusão mais evidente a ser feita. 2. Haynes brinca com a ideia do olhar voyeurista do dispositivo cinematográfico em como usa a curiosidade de Elizabeth acerca da vida e dos costumes de Gracie para evidenciar a presença da câmera como uma invasora da privacidade, observando atentamente aquilo que, em tese, tampouco deveria - ou fazendo o contrário: distanciando-se da cena e transformando o ponto de vista da câmera em subjetivo. Somos testemunhas oculares da vida alheia, vislumbrando sem qualquer pudor os detalhes de cada universo sempre que adentramos na sala de cinema e o cineasta posiciona esse ponto de vista incômodo na qual a protagonista insiste em se fazer presente na vida da biografada de maneira evidentemente obsessiva, confrontando o nosso papel como espectadores silenciosos da intimidade de outra pessoa, mesmo que na segurança da farsa (ficção). 3. Outro destaque é a postura de Elizabeth como essa materialização da composição de uma imagem cinematográfica visto nos seus processos de encarnar para encenar. A personagem de Portman faz questão de vivenciar e reproduzir as experiências de Gracie para vivê-la em cena. Personificar é essa arte onde o ator dá vida a algo descrito no papel, tal qual encenar é o centro que conduz o textual ao concretizar o que está escrito a partir de sua relação com a linguagem cinematográfica e o cineasta ressalta tanto o fascínio quanto a compulsão por um realismo excessivo e como isso é uma espécie de obsessão artística em voga na Hollywood atual.
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