Our next foray into Luhrmann territory is his version of the 16th-century play: WILLIAM SHAKESPEARE’S ROMEO + JULIET (1996). Sam goes off on one about one of his pet topics, and we take things further by discussing the playful and inventive qualities of the play brought out by Luhrmann ? along with his innovative use […]
This week we embark on our next directorial mini-season with the work of Baz Luhrmann. We start with his cinema debut, 1992’s STRICTLY BALLROOM. After opening reviews, we talk about mockumentaries, cinema aesthetic, and artistic frustration ? both in the film and in Luhrmann’s direction itself.
The final Coppola film in our mini-series is her latest, the 2017 re-make of THE BEGUILED. After our reviews, we talk about horror, tension, and the revision of traditional gendered values. This leads us on to a final discussion of Sofia Coppola’s oeuvre, when we take a look back at some new perspectives we’ve seen […]
Our next Sofia Coppola film is her 2006 historical biopic MARIE ANTOINETTE. We talk about decadence, loneliness, and why this film tries to several very interesting things ? but doesn’t quite succeed in pulling them off.
Next in our Sofia Coppola season is another of Rob’s all-time-favourite films: 2003’s LOST IN TRANSLATION. Reviews are more or less predictable, but we quickly get into talking about what it means to be privileged yet isolated, balance in cinematography, and whether or not this film ends in the right way.
This week, as Sam returns from intensive Dadding, we start on our next director: Sofia Coppola. Our first focus is on her debut, her adaptation of Jeffrey Eugenides’s novel THE VIRGIN SUICIDES. After we’re both really taken by surprise by this film, we talk about nostalgic film-making, ethereal screen presences, and what it is to […]
We conclude our NWR season with an episode focusing on his most recent film, the 2016 horror/psychological thriller/social commentary THE NEON DEMON. After similar reviews of the film, we look at the film’s exploration of beauty, the creepiness of both female and male gazes in this film, and what Refn has to say about a […]
The next in our NWR mini-season is his 2011 film DRIVE. One of us has radically changed his stance on the film (spoiler alert: Rob won’t be tearing down his poster)?after a few minutes of reviews, we get stuck into psychopathy on screen, subverting type, and just why this film is s tense.