Joanna Hogg's investigation into memory and mortality was a thrilling coda to her Souvenir series.
forebodingly captured by Hoyte van Hoytema and blasted onto IMAX screens this summer. The entire film, after all, is about trying to capture a perfect exterior shot, but I was intrigued by how much of Jordan Peele’s movie revolved aroundlooking up, averting one’s eyes from the big monster, and the terrors that resulted from attempting to diffuse spectacle into entertainment.
The filmmaker gave viewers a stunning final set piece where the overall message seemed to be that engineering such sequences chews up and traumatizes everyone involved.I understand the bitterness—it’s bleak times for the world and, seemingly, the industry—but am most intrigued by how it’s reverberated in this year’s cinematic output. Failures like the deadly seriouscast Hollywood as exploitative meat-grinders for idealistic cherubs.
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