How to Watch: In theaters and on Showtime November 24.
The Lost Daughter
It surely wasn’t Maggie Gyllenhaal’s dream to shoot her directorial debut, The Lost Daughter, an adaptation of Elena Ferrante’s 2006 novel, in the depths of a COVID lockdown. And yet this haunting movie, filmed under strict precautions last winter, achieves an uncanny mix of sun-splashed escapism and claustrophobic dread—just the right combination for a story about the dark side of parental attachment. Olivia Colman, in an indelible performance, plays a vacationing academic named Leda, squarely in middle age, who sees her Greek-island idyll spoiled by a boisterous American family that has descended upon the resort. There’s a young mother in the group—Dakota Johnson, alluring and unhappy—who catches Leda’s eye and reminds her of choices she made years ago. (Leda’s younger self is played by Jessie Buckley: sexy, ambitious, impulsive.) The Lost Daughter is a tour de force of acting and an examination of female desire, restlessness, and rage.—T.A.
How to Watch: In select theaters December 17 and on Netflix December 31.
The Most Beautiful Boy in the World
In February, Macabasco reviewed Kristina Lindström and Kristian Petri’s affecting documentary about Björn Andrésen, the star of 1971’s Death in Venice whom director Luchino Visconti declared the “most beautiful boy in the world.” “Weaving effectively between archival material and the present,” Macabasco wrote, “the film unfolds with surprising poignancy as it sketches Andrésen's remarkable but tragic path, studded with trauma and tragedies both in and out of the limelight. Many experiences are left gently unfilled—at a gay club on the French Riveria where drinks flowed, in Paris apartments supplied by shadowy men, onstage in Japan after he’s given unidentified pills to put him at ease. And yet, the suggestion is enough. That this story of objectification centers on a man makes it more uncommon but no less poignant.”
Parallel Mothers
The delight of a new Pedro Almodóvar film is its unpredictability. Will it be transgressive, madcap, hilarious, chilly, erotic—or all of these things? The 72-year-old Spanish director’s last movie, Pain and Glory, was startlingly autobiographical, and featured a glowingly human performance from Antonio Banderas as a director in an emotional spiral. Parallel Mothers feels like a sibling to that lovely, elegiac film—given the magisterial performance at its center from another longtime Almodóvar muse, Penélope Cruz. She’s Janis, a photographer and one of two new mothers in a domestic melodrama that offers jolting twists and reversals. Cruz’s firework charisma lights the proceedings, as does that of newcomer Milena Smit, who plays Ana, a younger mother, whose life becomes knotted with Janis’s. The movie is bursting with color, talk, cooking, and love affairs. It’s about the bonds and derangements of motherhood, and—as the shadow of politics descends—the deceptive comforts of bourgeois life.—T.A.
"Movies" - Google News
October 21, 2021 at 10:47PM
https://ift.tt/3n9cnug
The Best Movies of 2021, According to Vogue Editors - Vogue
"Movies" - Google News
https://ift.tt/2xuBIZW
Bagikan Berita Ini
0 Response to "The Best Movies of 2021, According to Vogue Editors - Vogue"
Post a Comment