The Day He Arrives (2011)
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Hong-Sang Soo seems to be famous for films that reflect everyday life, which at first glance seems ordinary, but has a deep impression. The Day He Arrives is one of the films with great dialogue in describing the character of his character. The main character is a director who is looking for peace, and apparently is a man who can not escape from his past. In addition to a duration of 87 minutes, the movie set in Seoul is only five characters with their minds each. It seems that the film wants to create intimacy by introducing narrow story and narrow characters. Speechy material how to read the character and ask for a cigarette is converted into a rather faint but slightly calming memory. There is a bit of surrealism flavor added in the story that is very integral to the black and white background and the use of zoom-in that often feels comical. This can mean two things: make a movie lover David Lynch happy or just make a furious person who likes the clarity of a story.
The End of the Tour (2015)
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There was one film that came to light after seeing the premise of The End of the Tour, Life. Both biographies were made in the same year, had a plot about a journalist trying to capture his favorite idol moment, and both featured a pretty good actor performance. Even so, there are things that distinguish them drastically. The End of the Tour is not cototogenic Life in cinematographic problems, that's right. The storyline of the TEotT, however, is that it really shines. Life could be a movie like this, it's just that writing the story looks less sincere. TEotT was written by David Lipsky who is also the main character in the film. This story is one form of tributnya to David Foster Wallace, a novelist who feels very impressive in his eyes. Lipsky, through Jesse Eisenberg really considered his source as a friend he hoped to have since junior high school or something. The worst thing after watching this is I remember not having finished reading Cat's Cradle.
American Splendor (2003)
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I do not know much about Harvey Pekar, but it seems that he is one of the pioneering writers of his time who used comics not just as a means of conveying fantasy. At least that's what the American Splendor told me. His vision as a human without vision is the main attraction of the film. Surely the idea is the estuary of his works, so you could say that this biography wants to reinforce the existing message. One of the filmmakers' efforts to make it happen is to play the limits of fiction and reality. There is one scene where Paul Giamatti, the actor for this eccentric writer, is present in one place with Harvey himself. But not in a referential way like "hey, kok we one place ya" or so. The apparent result looks like a pretty absurd scene, likely like a Paul Kirchner comic. Movies that are genius in many aspects, though sometimes too absorbed in their own monotony.