I loved the cinematography and overall what it was trying to do, very The Conformist in how it allows geography to inform narrative and drama, but the script and some of the direction honestly felt very film school for me. I know others that loved it though.
-Vader
I understand your points yeah.
The cinematography is what mostly did it for me too. Some of the framing is really fucking gorgeous. I remember the shot of those 2 "floating" brick walls, the way it was framed looked so abstract, i loved it.
I also kinda related to Cho's character, who did good job acting wise tbh.
Anyways. For the cinematography fans here, its worth checking out.
Cho's always great, but the other performances felt very film school-y for me too.
She absolutely aces it in Sharp Objects. It's quite a complex role she got to play and she just does it perfect. I hope Nolan will work with her someday.
Taylor John Smith. He really put depth in his performance in Sharp Objects. It's quite the emotional role and he aced it. I hope he gets to work with great directors. Maybe he'll be cast as one of the Harkonnen's in Dune... He'd be a perfect fit.
I mean I'm not even that big on Lost in Translation or Selma. But I'm not talking about my own opinion. By hit I mean having the kind of films in your résumé with enough rave, success and lasting impression that it would make sense for you to be mentioned alongside the likes of Scorsese or Linklater. Of which both of them have only one each. The Beguiled or The Virgin Suicides doesn't really qualify.
They are only mentioned there, because it's 2018 and you have to include some female filmmakers in your lists if you don't want to be labelled as sexist. The problem is they only went after the trendy and relevant ones instesd of directors like Riefenstahl, Reiniger, or Varda who each have made big impacts on film history or different movie genres.£
