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August 13, 2018 | by  | in Film |
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NZIFF Pt 2 (We Saw More Films)

Let the Corpses Tan – 5/5
This Belgian neo-western crime thriller is a meticulously crafted masterpiece from beginning to end. This film utilises every cinematic trick in the book to create this hyper-violent, highly stylised world. The entire soundscape was done in post-production, with every crinkle of leather and gun shot exaggerated in the final cut. The visuals pay clear homage to French New Wave crime films and spaghetti westerns, through zooms, framing, and slick editing, with the 16mm grain lending to the retro aesthetic. Despite the violent content, this film is iconic and a demonstration of the potential of cinema. – Monty

Climax – 3/5
This French psychedelic horror was certainly a series of choices. Not sure that it could be called a film, but there were definitely some choices made within it. Contains self-harm, suicide & graphic violence. – Emma

Mandy – 4/5
Don’t let the arthouse tint fool you on whether this is a Nicholas Cage film at heart, this…is… a FUCKING NICHOLAS CAGE FILM! A somber look at the domestic life of Red (Cage) and Mandy living in the woods, soon turns into a psychedelic, medieval/ rock-infused rollercoaster filled with animated sequences, graphic intertitles and Cage calling a cultist a “vicious snowflake”. The tonal shift works in Cage’s favour as it provides the actor with material to flex both his humane and animalistic muscles. Truly one of the Cageist performances. – Monty

Wildlife – 4/5
Paul Dano’s directorial debut focuses on the poignant portrayal of a crumbling marriage in small town 1950s Montana, with their son as the onlooker. Each family member attempts to adapt to this new chapter of their “wild life”, be it through rebelling, maturity, or just trying to get by. The character journeys are excellently captured through the cinematography, and it almost feels like a documentary. – Monty

Minding the Gap – 3.5/5
A documentary about 3 men and their transition into adulthood, shown through incredible time lapse footage. This film delves into the escapism of skating, the impact of the character’s abusive/absent fathers, and how they each face a challenging facet of growing up. While the first and third act of this film is well constructed from different sources of footage, the middle does tend to drag, which could be read as emphasising the repetitive and directionless period of adulthood. – Monty

The Miseducation of Cameron Post – 4.5/5
In early 90s Bible Belt America, being gay is one of the worst things in the world. Cameron Post is caught in a cinch with her girlfriend and unceremoniously shipped off to conversion therapy. Jarring corporatized faith and off-tempo humour combine to make a piece that is unique in its portrayal of queer relationships and living. Though it would have been nice to have a more satisfying ending, Post is an soothing balm to the one-note depression of more mainstream queer films. – Emma

The World Is Yours – 3/5
A comedic and thrilling portrayal of the Parisian underworld through a host of colourful characters including a conspiracy-obsessed Vincent Cassell. While it blends all the different characters together in this winding heist flick, the lavish lifestyles cover up the neat deus ex machina of an ending, giving everyone their comeuppance and wrapping up the protagonists’ goals in a nice idyllic bow. – Monty

El Angel – 3.5/5
This stylish portrayal of the baby-faced serial killer in 1970s Buenos Aires only scratches the surface of the psychosis of its pro/antagonist. Carlitos Buch (Ferro) oozes charm from the moment he swaggers onto the screen, and he carries this self-assurance through to his kills and final moments of freedom. Well selected shots and slick sound editing. – Monty

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