berndgeiling

Sorrentino's most melancholic film so far, a deep reflection about his favorite topics Youth, Desire, Love, Beauty and the Transience of Life coming with the merciless progression of time. Once more for me he creates an absolute masterpiece of photographic beauty, philosophical thoughts about what really matters in life, and a stunningly beautiful actress in the center part of Parthenope.

Those who are unable to open up their senses to this kind of beauty, based on silence, slowness and Zen like cinematography, bully this masterpiece as empty, pretentious and shallow. They're wrong. I am so grateful for this revelation of a movie and strongly recommend it to anyone who can understand what Sorrentino is telling us.

The concept of shooting every episode in one single take is totally amazing, not just for the superficial effect of it, but for fully transporting the deeper layers of the story, with all it's implications.

Eroding family bonds, loss of communication and social values and, what most people pointed out already, the topic of toxic masculinity.

But above all, what the so called Social Network does to our society, and especially to our children, unable to protect themselves against the nonstop hate, the lies and the stupidity, bringing out the worst and toxic parts in all of us, without ever stopping...raising this question in all it's deadly consequences was even more important for me.

All the actors, especially the amazing actor of the boy Jamie, are sensational. The end of the final episode left me in tears. Socially relevant, emotionally devastating, and a rare masterpiece of modern cinema.

Okay, 5 Oscars...I must have missed something this year. The only thing I know is that I had a very strong Deja Vu-feeling with this. Remembered "Everything Everywhere all at once" two years ago, watching Anora I felt a strong sickening similarity. I didn't get the Hype three years ago and I missed it with this flick again.

First Hour almost unbearable to watch, chaotic, vulgar, loud, annoying in extremes.

I couldn't route for a single character. But then the story starts blossoming in the second half, offering some very surprising and even tender moments. At this point it starts working as an unexpected reference to a very old comedic genre: the Screwball Comedies of the 30s/40s of the last century. And Sean Baker, the director, woke my attention again, because i understood it as a transformation of screwball routines into the 21st century, which left me more interested in the second half of it. But honestly: I still just didn't get it. The feeling that it was way overhyped didn't leave me throughout.

Most interesting character was Yura Borisov, nominated for best supporting actor. He didn't win.