Category: Year: 2019
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Jojo Rabbit. Dir. Taika Waititi. Fox Searchlight Pictures. 2019.
Taika Waititi’s Jojo Rabbit embodies the toxicity of hegemonic masculinity in Nazi Germany, utilising the rabbit ‘as a material and symbolic resource.’[1]. Waititi’s decision to navigate the film through the eyes of ten-year-old Jojo is significant, as Jojo’s own conflicted sense of masculinity is underscored through the rabbit as a symbol of gender, as his…
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The Lion King. Dir. Jon Favreau. Walt Disney Pictures and Fairview Entertainment. 2019.
‘There’s a stampede, in the pride lands’, Zazu’s memorable line is word-for-word identical to the 1994 animation. But where the animation focused on a simple plot, Jon Favreau’s recreation with CGI animals creates depth by building more of the animals’ characterisation into the story, I will question how this creates problems with humanising certain animals…
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The Platform (El Hoyo). Dir. Galder Gaztelu-Urrutia. Festival Films & Netflix. 2019
Of course, it is odd to gaze from social isolation into absolute claustrophobia while still in a lockdown: Galder Gaztelu-Urrutia’s twisted dystopian Sci-Fi thriller El Hoyo (in international release The Platform) is about being trapped in a large concrete construction that resembles a maintenance hole. It is also about social hierarchies constructed as a result:…
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The Platform (El Hoyo). Dir. Galder Gaztelu-Urrutia. Festival Films & Netflix. 2019
In the twisted dystopian science fiction movie “The Platform,” inmates of a vertically piled up prison, with two inmates on each floor, fight for bare survival due to the lack of food for the entire population. An extensive buffet of the finest hearty and sweet food travels, from top to bottom through the middle of…
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Midsommar. Dir. Ari Aster. A24 Films. 2019
– ‘So are we just going to ignore the bear then?’ – ‘It’s a bear.’ This sequence focalises through the eyes of the newcomers in unfamiliar territory and instills a sense of foreboding and uncomfortable mystery into the film through the conspicuous image of a caged bear. The questions brought about by the bear’s filmic…
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The Lighthouse. Dir. Robert Eggers. A24. 2019.
“𝑩𝒆𝒔𝒕 𝒚’𝒍𝒆𝒂𝒗𝒆 𝒕𝒉𝒆 𝒈𝒖𝒍𝒍𝒔 𝒃𝒆. 𝑰𝒏 ’𝒆𝒎𝒔 𝒕𝒉𝒆 𝒔𝒐𝒖𝒍𝒔 𝒐𝒇 𝒔𝒂𝒊𝒍𝒐𝒓𝒔 𝒘𝒉𝒂𝒕 𝒎𝒆𝒕 𝒕𝒉𝒆𝒊𝒓 𝒎𝒂𝒌𝒆𝒓.” The Lighthouse is a film about madness and evil. The film uses the arrival and death of a seagull, at the hands of Thomas, to explore the threshold between sanity and madness, and our capacity for evil. Thomas’ sanity is questioned…
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It: Chapter Two. Dir. Andy Muschietti. Warner Brothers. 2019
Following this scene, we see the characters of Richie (Bill Hader) and Eddie (James Ransone) petrified by Pennywise, a shape-shifting creature known as a Glamour, following them; they open a door and are greeted by a cute Pomeranian dog, creating an air of bathos. Here, we have a conflict of genres as the primary classification…
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Once Upon a Time in Hollywood. Dir. Quentin Tarantino. Columbia Pictures. 2019
Quentin Tarantino’s ninth feature film is wistfully reminiscent of a bygone era, a self-reflexive artefact devoted to the zeitgeist of the closing chapter of Hollywood’s golden era. For two hours and forty minutes, the director lays bare his musings on cinema which read less like a narrative and more like a very thorough character study…
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Jojo Rabbit. Dir. Taika Waititi. Fox Searchlight Pictures. 2019.
Jojo Rabbit (Taika Waititi, 2019) follows a young German boy growing up during World War Two. During a sequence depicting Jojo’s education, a rabbit is used as a symbol of morality to train a group of Hitler Youth. The children unanimously agree that they would kill for Germany – this is then put to the…