But there was something uniquely appealing about King Kong and Godzilla, the undeniable masters of the monster genre, as their existence and rage became a metaphor for humanity’s destruction of the natural world. We got what we deserved in these creatures, as their destructive force was the inevitable result of our careless treatment of the planet. Our insatiable appetite for versions of their story, in all media, makes me wonder what that says about us, about our self-awareness, about our own sense of existential dread.
My notes on this year’s Oscar nominations:
making their directorial debut. Florian Zeller is a French playwright who has had three of his films adapted for the screen, all of them in French, but he has never directed any of his own play adaptations until now, with The Father, starring Anthony Hopkins and Olivia Colman. So not only is Zeller contending with making a film in English instead of French for the first time, but he’s also learning on the job how to tell a story that was designed to be told in one closed location in a way that doesn’t make the film audience feel restricted. While all of the other stage-to-screen films this season have struggled with this expansion of their world (with the exception of The Prom, which had other problems), The Father cracked the code, as Zeller has delivered not only the best film adaptations of the season, but one of the most effective, moving and, dare I say, cinematic films of the year.
office, obviously depressed and trying to learn how to deal with an unnamed tragedy in her life. The next thing we know, she has packed up everything she owns, rented a car and a U-Haul trailer and moved to a remote cabin in the Wyoming wilderness, to live by herself, away from civilization, but, most important of all, away from any other human. Whatever it is she’s trying to escape from or shut out, she obviously feels that isolating herself from life is what she needs to heal the deep core of pain that has seemingly swallowed her whole.
