Aadid tells us his life in seven minutes. He's an Arabic-speaking young man working the night shift at a laundromat and dry cleaners somewhere in the United States. In the aftermath of 9/11... See full summary »
After connecting with the shy Madeline, a jazz trumpeter embarks on a quest for a more gregarious paramour, but through a series of twists and turns punctuated by an original score, the two lovers seem destined to be together.
For his follow-up to MY JOSEPHINE, Barry Jenkins turned to an issue closer to his Florida home in the early 2000s: the spate of young black boys being tried as adults for the gunshot deaths... See full summary »
Shortly after completing the film, a friend suggested to writer/director Barry Jenkins to watch Damien Chazelle's film Guy and Guy and Madeline on a Park Bench (2009) given it was another black and white contemporary film gaining momentum among the indie circuit. Ironically, a friend of Damien Chazelle's told him to watch Medicine for Melancholy (2008) shortly after completing his film. Both directors were up for several Academy Awards in 2017 for their films Moonlight (2016) and La La Land (2016) respectively and only discovered this after speaking to one another during The Hollywood Report's Oscar's Roundtable. See more »
Each song in the soundtrack appears in the credits with a still frame from the part of the movie where it was used. See more »
First, a comment to the two reviewers who found this film 'slow,' etc;
The pace of films - for MOST of the 20th century were at a much slower pace. It lets the director get to know the characters, etc.
In today's film market - in which a HUGE part of the pie is overseas sales/distribution - dialogue doesn't translate, but, ACTIONS do.
That's one of the reasons why most films of the past decade or so, have interchangeable plots, characters - the story is second to the action.
Saying that, let me talk about MEDICINE FOR MELANCHOLY.
I came in a few minutes after it had begun. I'd never seen, nor heard of it (my friend had left the TV on, and was actually watching something prior - FLAWLESS, with R. DeNiro.
I came in when Micah was in a cab bringing the lost wallet he'd found back to it's owner, Jo (I know that they'd had casual sex just before this, and didn't know each other).
I got caught up in the dialogue. It was slow. It as natural, as to how two people meet (awkwardly) at inopportune times.
I quickly picked up on the ambivalence Jo' was having, and Micah, just trying (at first) to get to know Jo a bit.
The film follows them throughout that day - and that night, as the two start to reveal more of themselves. A third important cast member, who's very important, is the sprawling city of San Francisco.
I love the cinematography done on this film. It's a loving portrayal of San Francisco.
The pair walk through streets, and neighbourhoods, that are far from the shiny images tourists see, or think of, when they hear the city's name.
As for the performances of both the two (verbal) actors, I enjoyed their charisma, and I hope to see more from them in the future.
MEDICINE FOR MELANCHOLY is not for people who are impatient, or 'don't get' plots. But, for those who enjoy spending an afternoon, and just letting a film wash over you, this one's definitely one to watch.
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