"Art only expresses one thing: freedom."
Simoun, A Lullaby to the Sorrowful Mystery
"I don't make cinema for the market, so I'm ok, I'm free."
Lav Diaz, interview with mubi
This review may contain spoilers. I can handle the truth.
The first Keaton film that ends with him not getting the girl, and a surprisingly resigned reaction and a rather dark ending that follows this failure. As if Buster is saying without the possibility of love, life is not even worth fighting for.
Another addition to the series of new films that try to integrate “art-house” aesthetics/vibe with popular cinema and and appropriate them for mass audience. The same way that Ghost Story wanted to implement Tsai+Malick into a film that’s shown in AMC and Regal, this film rips off a whole bunch of films -from Tarkovsky (both Solaris and Stalker) to recent films like Under the Skin, as well as Twin Peaks: The Return ( If I saw this correctly, the eyeless…
Never has a Haneke film been so self-referential: everything from The Seventh Continent and Benny’s Video to Cache and [explicitly] Amour, are referenced on some level and in some form, and this self-awareness isn’t just on a superficial level of reference to other films, but it takes the form of humor in this film, -which needless to say is extremely rare in Haneke’s cinema- it’s as if Haneke knows we can hardly be shocked anymore, that we have been far…