kasserlannister

Couldn't get the Palisades fire in my head while watching "Flow" and all the affected wildlife from coyotes to birds and bats, from that baby deer and mountain lions we saw all over social media. "Flow" is essentially that, only on a different element but effectuated by the same crisis; a film told in the POV of a voiceless, sentient creature who just wanted to survive and catch air over nondiscriminatory impacts of the climate crisis.

"Flow" is not a labyrinthine story but done with so much care and compassion, framed in one of the best cinematography and score of its year, worthy of its win at the Golden Globes. But I believe this project is more a cautionary tale and a reminder of who we are and how important communal action and compassion are, so be kind to everyone; we all strive for survival and life. And that encompasses other species. I take comfort in the fact that whichever film wins at the Oscars is a triumph for all wildlife.

Brb going to hug my brother's four cats.

I was all set to a 4-star rating (half a star better than each of the Sean Baker films I have seen). Then the final scene happened.

Baker always hits the spot of organicism out of real-life depiction in the films he wrote and directed, especially if it's a story about domestic issues and the lower spectrum of the social class. Sex work narratives might not be new in Baker's filmography but his treatment in Anora was the most ambitious of all, after his consistent attachment with A24 (which is a bummer for me as a fan of the studio; Anora felt and looked like an A24 work).

Anora was well-paced powered by its electric screenplay by Baker. The film opened with so much energy, reflective of our main girl's facade as a young stripper apt for a Russian-American neighborhood in New York. Then there was Drew Daniels' cinematography of iconic A24 (I'm so sorry, Neon) lighting in the club and spacious outdoor shots reminiscent of Baker's The Florida Project with A24 (really really sorry, Neon). All these technical strengths weighed on the shoulders of Mikey Madison, the most decorated actor this awards season and who is ultimately winning the Oscars. Carve her name to the trophy already.

From the calculated tone and energy as a stripper to skin-deep qualities of a young working woman surrounded by much older men, Madison gave perfect human shape to "Ani". All flirty, feisty, foxy, frenetic-all the effin' f words until the last seconds through total silence and ponderation. That's when Anora resounded. Not her heels, not her screaming, not her playlist, not Ani...

Anora.

What a way to debut! Julio Torres has carved his way as someone to look out for in avant-garde directing and writing. Problemista began wide in imagination and ingenuity, and ended the same way. Tilda Swinton must have put so much trust in Torres' vision notwithstanding their opposing stature in the industry, and it showed in her all-out performance.

Can't say this is merely beginner's luck but it's as if I have known Julio Torres with enough time through his firstborn project to defend him as a creative and his real potential in the industry.

Ladies and gentlemen, my second best film of 2024.