— Philip Seymour Hoffman
Alfonso Cuarón, on the writing of Gravity
Gravity’s symbolic imagery, its visual landscape infused with thematic metaphors, rather than heavy dialogue filled with rhetoric or narrative complexity, accomplishes what Cuarón and his son set out to do. It reaches out to its audience, and compels them to project themselves and their adversities into the void of space that these characters drift in.
Children of Men warrants a couple of more viewings, because I certainly have some questions, but I don’t think i have the time and thought I’d incite some conversation on tumblr, if anyone else has seen it.
Why did The Fishes want to keep Kee’s baby for themselves? Was is it so that they could abuse the child, in hopes of having it reproduce more offspring? But they also feared that the government would genetically experiment with the child, which they claimed to be against. Keeping it merely as a symbol for a revolution against the oppressive government doesn’t seem like it would benefit many people or even succeed… but…
The ending leaves us on a cliffhanger, without knowing whether The Human Project can indeed cure infertility, but I don’t understand the intentions of The Fishes…
We’re learning about the classical film, the art film, the radical film, and the postmodern film; and now I can’t help trying to classify every film I’ve ever seen and ones that I’m watching and now I’m just like oh, so that’s postmodern art? Oh and this is too. And this. And everything.
— Jean-Luc Godard’s, Tout Va Bien