surrealism
Though with a contrived ending, Goodnight Mommy is a mostly intriguing Austrian horror film that plays on inborn, relatable fears.
There is one movement cinephiles can thank for heroin addicts sinking into carpets and rose petals exploding from cheerleader’s chests: Surrealism. Not only has the movement influenced some of the most iconic films to date like Trainspotting and American Beauty, throughout the last century surrealism has completely turned cinema on its head; creating a new wave of film that drags reality into the world of insanity.
Technology has made finding relationships easier than before, yet also far more difficult to sustain. Less than a day before writing this review, my boyfriend broke up with me. It took eight months to realise that we are completely different people with different interests, with the realisation of our incompatibility unwelcome but inevitable.
David Lynch has one of the most polarizing bodies of work in Hollywood (though he is objectively one of the nicest and most genuine people there). His films divide audiences like they were born of a marriage between Moses and Solomon. Filled with peculiar idiosyncrasies and defiantly flaunting conventions of both genre and narrative, Lynch’s films have been stubborn in their consistency for most of his career.
Last year, Denis Villeneuve directed one of the most pleasant surprises of the year with Prisoners, an unrelentingly tense film about child abduction that presented intriguing moral questions while also providing satisfying twists and turns throughout. That filmed starred Hugh Jackman and Jake Gyllenhaal. Gyllenhaal has teamed up with Villeneuve again in Enemy, a much smaller and much, much more mind-bending film than Prisoners.
