Note to viewers, director's cut only. You need to see the full creative vision of this thing.
She is a different kind of Girlboss. The fact she is a teen but holds rank, forms a perfect satire of bureacracy. We the audience respect her power too, showing a hat trick of cinema. But this one joke is expanded into so many operatic expressions, contrasts, dangers. Film here is approaching like a painting, but on cinema's terms. He always knows what you want, and sort of gives it to you, but sometimes gives you things you never expected, and sometimes gives you things you dreaded, or believed the movie would not wander from its innocence. It does. Constantly.
Every single scene has little surprises. Every scene is like a puzzle. The long takes and staging should inspire any film-minded viewer, it rewrites the rules of cinema, with fragments, vignettes, but that it all blossoms stepping back seeing the complete picture. So it's like a painting and a song at once.
Because. When she grabbed that uzi. Holy... the film is toying with us the whole time wanting us to see her go full gangster, withholding to the point we doubt it will happen. Even this shot tells the whole story but is like, a samurai stabbing someone with one slice, after a long film getting picked on. We don't see the violence. It is not clear who dies, it is almost an after thought, the director's wink saying, you don't really want to see such grotesque immorality do you? We go, YES. He goes, me too.
It both gives us the badassery, like an authors scribbled signature, while also withholding the full satisfaction of it to drive home both the film and meta-film at once.
Because you are watching this with twenty years of Tarantino Battle Royale Kitano hindsight, irony, glorification of immorality. It is shocking seeing a cinema of morality with such a concept. It sees it as tragedy. Point is this film has brought out, in an eye opening way, how sadistic audiences have gotten.
Instead of asking why the movie is not wall to wall girl mowing down yakuzas, ask why those modern films are so inhuman.
This to me is a bravura cinema. The story is the frame to hang its creativity. All filmmakers should take note, when the story is good, the filmmaker can seldom steer wrong with unusual decisions on screen. There is an enormous heart to the film. Somehow it puts you in her shoes and gives you a person you just root for. I like comics and anime too, but I see this as an elevated cinema, a parallel evolution from the west, you would not even see this today here, it would be played for laughs or irony. Now I am obsessed with this movie, I want to see what happens next in her journey to college with what she learned.
She is a different kind of Girlboss. The fact she is a teen but holds rank, forms a perfect satire of bureacracy. We the audience respect her power too, showing a hat trick of cinema. But this one joke is expanded into so many operatic expressions, contrasts, dangers. Film here is approaching like a painting, but on cinema's terms. He always knows what you want, and sort of gives it to you, but sometimes gives you things you never expected, and sometimes gives you things you dreaded, or believed the movie would not wander from its innocence. It does. Constantly.
Every single scene has little surprises. Every scene is like a puzzle. The long takes and staging should inspire any film-minded viewer, it rewrites the rules of cinema, with fragments, vignettes, but that it all blossoms stepping back seeing the complete picture. So it's like a painting and a song at once.
Because. When she grabbed that uzi. Holy... the film is toying with us the whole time wanting us to see her go full gangster, withholding to the point we doubt it will happen. Even this shot tells the whole story but is like, a samurai stabbing someone with one slice, after a long film getting picked on. We don't see the violence. It is not clear who dies, it is almost an after thought, the director's wink saying, you don't really want to see such grotesque immorality do you? We go, YES. He goes, me too.
It both gives us the badassery, like an authors scribbled signature, while also withholding the full satisfaction of it to drive home both the film and meta-film at once.
Because you are watching this with twenty years of Tarantino Battle Royale Kitano hindsight, irony, glorification of immorality. It is shocking seeing a cinema of morality with such a concept. It sees it as tragedy. Point is this film has brought out, in an eye opening way, how sadistic audiences have gotten.
Instead of asking why the movie is not wall to wall girl mowing down yakuzas, ask why those modern films are so inhuman.
This to me is a bravura cinema. The story is the frame to hang its creativity. All filmmakers should take note, when the story is good, the filmmaker can seldom steer wrong with unusual decisions on screen. There is an enormous heart to the film. Somehow it puts you in her shoes and gives you a person you just root for. I like comics and anime too, but I see this as an elevated cinema, a parallel evolution from the west, you would not even see this today here, it would be played for laughs or irony. Now I am obsessed with this movie, I want to see what happens next in her journey to college with what she learned.