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But Haynes and screenwriter Phyllis Nagy, adapting from Patricia Highsmith’s landmark lesbian novel The Price of Salt, also do a deeper, more intellectual investigation into the story of two women who fall in love in 1950s New York City. And there is plenty of that in this transfixing film. Todd Haynes’s sumptuously tailored period piece could easily have been just an affecting romantic melodrama, all pain of repression and unrequited longing. Oh, and it has one of the loveliest, sweetest final scenes of the year. But with its sharp humor and sincere good nature, it’s also timeless. In that regard, the timing of Tangerine feels just right, a positive document for our sociopolitical era. It sets a pretty high bar for future movies about sex work, or trans issues, or the multi-culti liveliness of a city like Los Angeles. Tangerine slows its high-heel trot at a few key moments to show us the inner yearnings, fears, and sadnesses of its varied cast of characters, creating a sense of true understanding, rather than rubbernecking voyeurism. The film’s stars, hyper Kitana Kiki Rodriguez and soulful Mya Taylor, are true finds, pulling us gamely along through their seedy/charming world of pimps, johns, donut shops, and laundromats. But Sean Baker’s zippy, riotous comedy, about two trans sex workers’ misadventures one crazy Christmas Eve in Los Angeles, is the real deal, loaded with comic flair and laced with an arresting poignancy. Shot entirely on iPhones and starring two non-professional actresses plucked out of obscurity, Tangerine initially appears to be a nervy indie gimmick, more stunt than substantial film. It’s heartening enough to have them posed at all, no less in such wise, moving fashion.
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What does it mean to be a person who thinks and feels and observes? How do we come to value or prize one person’s experiences of the world over another’s? Ponsoldt’s happy, aching film doesn’t answer these questions, but it doesn’t need to. As they talk and talk and talk, mulling over the writing life and pop culture and artistic identity, The End of the Tour takes on a philosophical inquiry that proves genuinely nourishing. Lipsky, played with just the right amount of nervous itch by Jesse Eisenberg, is envious and intimidated, but the two eventually find an enriching rapport. The film, adapted masterfully from Lipsky’s compiled transcripts by Donald Margulies, finds Foster Wallace, thoroughly realized by Jason Segel in a career-best performance, inundated with obsessive praise following the publication of his seminal tome Infinite Jest, but more than a little wary of all this newfound fame and adoration. Hansen-Løve’s film revels in the thump and swoon of life I left the theater feeling dazed, giddy, melancholy, and blissful, my ears ringing with all the wonderful clamor of being alive.Īnother film about creativity, James Ponsoldt’s gracious, empathetic recreation of journalist David Lipsky’s brief time on the road with celebrated novelist David Foster Wallace, in the winter of 1996, is small and talky, but bursting with feeling. Paul hits rough spots as he grapples with failure and jealousy, but by the film’s affecting end, Eden has asserted itself as a humane, warmhearted paean to magical, possibility-filled youth, and the uncertain world that lies beyond it. gods Daft Punk, but this is no Inside Llewyn Davis–esque study of bitterness and burnout. Hansen-Løve includes cheeky, affectionate references to real-life French E.D.M. Not much happens in Eden, and yet everything happens, as our hero Paul ( Félix de Givry) navigates the Paris music scene through E.D.M.’s underground beginnings to its pulsating ascendence. Creativity, ambition, passion, and the meander and rush of time are all depicted beautifully in Eden, a film that’s alternately joyous and wistful, hopeful and resigned.
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in the 1990s and 2000s, director Mia Hansen-Løve’s sprawling, sublime modern-day epic is really about much bigger, more universal things.
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Ostensibly a chronicle of the rises and falls of an aspiring French electronic dance music D.J.