VALUTAZIONE IMDb
5,7/10
14.002
LA TUA VALUTAZIONE
I sogni chiaroveggenti/profetici di una matricola del college sessualmente "non dichiarata" indicano che sta accadendo qualcosa di molto strano che coinvolge i suoi compagni di classe... e l... Leggi tuttoI sogni chiaroveggenti/profetici di una matricola del college sessualmente "non dichiarata" indicano che sta accadendo qualcosa di molto strano che coinvolge i suoi compagni di classe... e lui ne è il protagonista.I sogni chiaroveggenti/profetici di una matricola del college sessualmente "non dichiarata" indicano che sta accadendo qualcosa di molto strano che coinvolge i suoi compagni di classe... e lui ne è il protagonista.
- Regia
- Sceneggiatura
- Star
- Premi
- 2 vittorie e 2 candidature
Sean Bresnahan
- Surgeon
- (non citato nei titoli originali)
Brandy Futch
- Drug Fairy Nymph
- (non citato nei titoli originali)
Natalie Alyn Lind
- Cult Victim
- (non citato nei titoli originali)
Trama
Lo sapevi?
- QuizInspired by a conversation Gregg Araki had with John Waters.
- Colonne sonoreSaturday
Written by Dan Whitford
Performed by Cut Copy
Courtesy of Universal Music Australia Pty. Ltd.
Under license from Universal Music Enterprises
Recensione in evidenza
If you want image and attitude this can be fun. If depth of vision, on the other hand, it will seem small.
I'll have you imagine this as a guy with a bunch of comic-books and magazines on his floor, he cuts up strips and glues them together, now something about sex and college relationships, then a strip off Scooby- Do, another resembles Lynch, a third is about life on campus, then back to sex, more sex and obsession.
He is from that 90s crop of makers (Tarantino, Smith) who thought that life had no business being seen as deeper than the way stuff just hang together, the fun in having so much stuff to pick from: movies, comic- books, TV. He briefly tried something more coherent in Mysterious Skin, here he's back to a collage.
Two main thrusts here. One is the college journey of discovery, here he tries to paint a picture of sexual life, the confusion and reluctance - Nowhere was angsty, this is more relaxed in its skin, there's a sweetness around discovery. The second thrust is about mysterious happenings around campus, there are figures in animal masks who come out at night, a witch, a girl found dead. This is the more endearing part, all about how confusion in his mind around sexual identity manifests around campus as some inscrutable power of rearrange.
It's all in the opening scene, a recurring dream where he walks down a corridor lined with girls and comes up against a mysterious door marked 18, his age: sex, dreams, locked mystery.
It's fun for a while to see him do it, the fun all in the imaginative jumps from one strip to the next, in that it all loosely hangs together around a dream. But then it's as if he gets bored or can't see any point to it so he just keeps throwing stuff. A cult, the end of the world, a discovery about the father, more trysts, a car chase. None of it sticks, too much paper weight so it all just tumbles down in a heap of scraps. This is its own insight then on craft, if the patching doesn't begin to rise up into shape that guides the eye from forms to the possible thing they give rise to, it remains artless patchwork.
Lynch also takes a lot of care in picking out cinematic wallpaper so it's seductive when you enter, but that's after he has mulled long and hard about where the walls are going to be and what kind of space they will define.
I'll have you imagine this as a guy with a bunch of comic-books and magazines on his floor, he cuts up strips and glues them together, now something about sex and college relationships, then a strip off Scooby- Do, another resembles Lynch, a third is about life on campus, then back to sex, more sex and obsession.
He is from that 90s crop of makers (Tarantino, Smith) who thought that life had no business being seen as deeper than the way stuff just hang together, the fun in having so much stuff to pick from: movies, comic- books, TV. He briefly tried something more coherent in Mysterious Skin, here he's back to a collage.
Two main thrusts here. One is the college journey of discovery, here he tries to paint a picture of sexual life, the confusion and reluctance - Nowhere was angsty, this is more relaxed in its skin, there's a sweetness around discovery. The second thrust is about mysterious happenings around campus, there are figures in animal masks who come out at night, a witch, a girl found dead. This is the more endearing part, all about how confusion in his mind around sexual identity manifests around campus as some inscrutable power of rearrange.
It's all in the opening scene, a recurring dream where he walks down a corridor lined with girls and comes up against a mysterious door marked 18, his age: sex, dreams, locked mystery.
It's fun for a while to see him do it, the fun all in the imaginative jumps from one strip to the next, in that it all loosely hangs together around a dream. But then it's as if he gets bored or can't see any point to it so he just keeps throwing stuff. A cult, the end of the world, a discovery about the father, more trysts, a car chase. None of it sticks, too much paper weight so it all just tumbles down in a heap of scraps. This is its own insight then on craft, if the patching doesn't begin to rise up into shape that guides the eye from forms to the possible thing they give rise to, it remains artless patchwork.
Lynch also takes a lot of care in picking out cinematic wallpaper so it's seductive when you enter, but that's after he has mulled long and hard about where the walls are going to be and what kind of space they will define.
- chaos-rampant
- 22 mag 2014
- Permalink
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