vitinhaoriginal

It touched me about my similarities with Danielle the first time I saw it, and now about how alone and directionless I feel.

One thing remained the same: the fantastic soundtrack. A wonderful display of confusion, anguish, and uncertainty.

It's distressing in a different way to watch the film and see so much of Danielle in yourself, from choosing a career where you don't have the advantageous positions in the system to succeed, to the family pressure regarding your appearance, your tastes, your image, and your personality.

When we change now, the problem changes too. Now you need to gain weight, not think too much about work, and distance yourself from people.

This is how the film touched me for the first time, today, although I still connect deeply with this first part of myself that the film incredibly wounded, the new zone it attacked is the thoughts of loneliness and lack of sense of direction.

What if the choices were wrong? What if I shouldn't have prioritized what I like, but rather what brings stability? What if I followed the status quo completely, would I have more peace of mind? It's terrifying to think that, at such a young age, you've already ruined everything.

The dynamic between Danielle and her mother is fantastic and very similar to my own, which further heightened this almost personal experience of watching me as a woman exaggerated to the point of comedy, but with a quiet terror that exists in the routine of our lives, so real it causes anguish.

Shiva Baby still managed to get laughs in the midst of all this.

• COSTUME DESIGN

Avery Plewes exceptionally brings to life the style of this one-day story as part of Danielle's mental state, personality, and power dynamics in the characters, whether it's her father's playful, serious-minded self or her mother's confident, commanding voice within the family.

Maya operates perfectly as the world would like to see Danielle, and perhaps she too. In her androgynous, social, and casual look, she is unpretentious yet confident, unlike Danielle. She doesn't hide, and she's in control of her own life and identity.

And Kim is the pinnacle of it all, shining like the sun even in her minimalist look, her elegance, discretion, and natural sensuality without sacrificing her maturity in serene colors-the perfect image of the perfect woman? Perhaps, at least in Danielle's eyes, the protagonist's anguish is perfectly portrayed.

Sensual, funny, intelligent, and full of charisma, Double Indemnity, no matter how many times I see it, always captivates me. Whether it's the fantastic character dynamics or the film's beauty, it's one of the first exhibitions of location filming in American cinema.

You can choose what captivates you, whether it's the film's production and the challenges of bringing this story to life at the time, the dynamic between Neff and Phylis, or Neff's downfall and her quest for redemption.

Billy Wilder has a way of capturing the beauty of his actresses in an almost ethereal way. In moments when we're alone with Phylis, it's like seeing an angel or a demon, a golden-haired entity with a gaze that hides worlds.

Barton Keyes is the perfect balance between a stumbling block and a genuine friend, a fantastic character full of complexities who captivates you from the start.

It's simply wonderful to watch the plan unfold and how everything goes off the rails.

Several scenes from this film will remain etched in my memory forever, but one I'll never forget is Phylis in her sunglasses next to Neff and the door scene.

• COSTUME DESIGN

Clothes are a lie; everything can be a disguise.

Everything can be a lie, even the simplest suit and the most basic hat. The greatest disguise can also be a gateway to the end, beyond the seduction of a simple forbidden love.

Seeing Edith Head's work is always a gift, as you can choose two approaches: be impressed by the beauty of the work or treat it as a lesson. Double Indemnity is no different.

Phylis's costumes are one of the foundations of the narrative; Edith used her clothes to bring this seductive and manipulative woman to life.

Transcending glamour, Edith focuses on the psyche of the story through symbolism and subliminal language, whether it's the mesh Phylis wears when we first meet her or the way she hides her gaze, revealing her true intentions, something only someone beyond her hook can see the truth behind.

The chiaroscuro of the lighting and photography helps bring textures to life in a unique way, giving depth to fabrics, whether it's the use of wool, silk, or knitwear that, in interaction with the light, hide true motivations and bring to life the danger of this woman with a thousand secrets in a narrative without dialogue.

Here the theme doesn't have the weight it deserves, but it is engaging.

There seem to be two people fighting for control of the work: one wants to tell a grand myth about the relationship between gods and humans, acts of humanity, and the value of human connection within the idea of immortality as punishment.

On the other hand, there's someone wanting to tell a corny action film with constant contemporary music between catchphrases and beautiful choreography. Elements of both could coexist, but by trying both approaches, neither is convincing.

The themes of the characters and the extension of their lives and dilemmas are so interesting, but they don't receive the focus they deserve.

The music is what bothers me the most. Besides not being coherent with the tone of the story, it doesn't convey any sense of weight.

Changing the soundtrack to an original orchestra would elevate the story to another level.

Seeing Charlize Theron is always good, especially in a role with a bit of Furiosa's drive and power.

• COSTUME DESIGN -

How to dress immortals who have lived through centuries? This is the challenge Mary Vogt faced with the costumes for this story. Was she successful? It's safe to say yes. Is it memorable and worthy of her other works, such as Batman Returns, Men in Black, and Hocus Pocus? No.

Andy, a person older than almost everything around her, maintains her roots as a fighting goddess forgotten by the passage of time, transforming her armor throughout history into military uniforms and uniforms, and even utilitarianism with functional clothing and worn-out jackets and coats.

By following the utilitarian path, Mary refrains from portraying Andy as an ancient creature still trapped in her time as a goddess, but rather exhausted by this kind of vanity.

The others don't delve as deeply, but they still have their own particularities, like Joe's softness and Nicky's practical, utilitarian look, the closest to Andy in pragmatism. Unlike Andy, he has room for love, which is shown in his less aggressive posture, and Booker with his desire to blend in and disappear into the crowd.

Mary portrays protagonist Nile's journey of change by using Andy as a parallel, from abandoning his military position to a transition to practicality and his own jacket, this visual rite of passage.

To balance this language, the antagonists are drowned in expensive, sleek suits, with little personal touch, no memories etched into their plot, but they reveal their greed.

But every time we went to a flashback, I thought, "I want to see this story."