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- Freiheit und Determinismus: Ein philosophischer Kommentar zu Ciceros Schrift De fato (Quellen und Studien zur Philosophie) (German Edition);
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And, ultimately, we do find ourselves in alignment with Dani at the end of the movie. This is a movie about her liberation from a toxic relationship and the catharsis that comes with it, albeit that the catharsis is confusing, painful, complex and not entirely clear. I was interested in giving extra layers of dimensionality to Christian and challenging myself to empathize and relate to a guy who, on the surface, is just an archetypal toxic alpha male. But he finds himself literally stripped bare in this humiliating, exposing place, which is absolutely terrifying.
That allowed me to get into the character, looking at him and acknowledging there are plenty of elements of that character that are in me and every single human being on the face of the planet. I totally agree, dude. I might have been a little bit reactionary myself to the audience! Some scenes that supposedly showed Christian in a more sympathetic light were left on the cutting room floor—obviously, what makes the most sense for the film is what should win out, but is there a part of you that wishes people might see the fuller picture of the character you created?
Partly, but then it would have been a very different film. If the scenes where Christian exhibits more compassion and provides her with stuff she needs in the moment had been left in, the film would be even more divisive and polarizing for an audience than it is. How do you approach those moments? But I wanted to play this guy, further to your point, on his worst day.
Ten Thousand Saints Movie Review () | Roger Ebert
When you pitch the character there for yourself and allow the character to do questionable things, I think it gives context to everything. I think to base the character as someone who means well but is acting out their worst aspects of their character in this moment is how I got into it.
You never really know completely. Ari in particular is someone who I thought his short films were visionary when I watched them, because I never got to see Hereditary before I signed on to do this movie. The script was really interesting, but what he wrote goes far beyond the words on the page. The conversations I had with him prior to signing on to be a part of the film were definitely incredibly encouraging for me. We have a common admiration for a number of quite obscure filmmakers, but some of the best filmmakers who ever lived, nonetheless. To me, that was a sign that this was something I wanted to be a part of and this was a director who valued the artistic merit of the project above all else.
Watching movies with an eye to your own development as an artist? One-hundred percent, man. I absolutely love it. The film is a brutal examination of social isolation and malaise, and the gulf that often exists between men and women. Worried about his father, Shigehiko says that Aoyama should marry again, with a flippancy that suggests how someone might ask a family member to pick up dinner on their way home from work. Shigehiko is generally sensitive and thoughtful but sees women as accessories. At the urging of his filmmaking partner, Yoshikawa Jun Kunimara , Aoyama holds a fake audition for a melodrama as a way of fishing for young, attractive, and obedient women.
The first hour of the film can be read several ways, often simultaneously. Outwardly, the narrative resembles an innocuous romantic bauble. Rom-coms condition us to see lovers as objects aiding us on our paths toward fulfillment. In this and other threads, there are shades of another classic film of male manipulation and self-isolation: Vertigo. Even innocent Shigehiko confesses to a fear of women, born in part from his dead mother, whose absence failed to prepare him for healthy relationships with the opposite sex. Shigehiko brings home a girl, and Aoyama cheers him on as one might an athlete making a score—a punchline that feels cute and characteristic of the jokes of many American or Japanese rom-coms but becomes retroactively sinister.
In the audition process, an exploitation that Miike ironically stages with the cheeriness of a broad comedy, Aoyama becomes quickly stuck on Asami Eihi Shiina , a young woman who conforms so perfectly to a Japanese ideal of subservience as to seem deranged from the outset. Aoyama is so determined to see Asami in a particular way as a reflection of his own pain that he misses her personal agency, overlooking her in the way that men in this film habitually overlook women. What Aoyama fails to see in Asami is a chasm of alienation and madness, fostered by the abuse of men, which far exceeds his understanding and experience, and which is expressed by her intelligent yet somewhat affectless eyes and coiled, wiry frame.
Miike also understands that men pay for their sexism, as this is a source of their feelings of hollowness.
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When Asami paralyzes Aoyama and sticks him with acupuncture pins and saws his foot off with fine wire, actions which Miike stages with a galvanizing calmness, she traumatizes him while providing him with a perverse catharsis. But this interpretation is complicated by several slips in time and perspective. In these sequences, Miike renders a free-associative vortex of male neuroses, in which women become interchangeable harbingers of longing and pain. As Audition progresses toward its no-exit finale, Miike gradually informs its atmosphere with the aura of a horror noir, and so the film grows sicker and more neurotic before our eyes.
Later, when the phone finally rings, her lips curl into a blood-freezing smile. Restaurants and alleyways go from being white and sterile to shadowy and inflamed with redness, as Aoyama begins to envision—or hallucinate—fleeting scenes of Grand Guignol atrocity. Weird, stylish, and surprisingly lyrical, Ant-Man , Iron Man 3 , and Doctor Strange attest to the benefits of the old Hollywood-style studio system that Marvel has resurrected: Under the umbrella of structure and quota is security, which can bequeath qualified freedom.
Chuck Bowen. Nick Schager. Upgraded with the latest CGI hardware but also more shoddy screenwriting software than its system can withstand, Iron Man 2 is an example of subtraction by addition. As another of the character-introducing MCU stories existing mostly to feed new superheroes into the Avengers series, Captain Marvel looks like something of a trial run.
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Elsewhere, bona fide celebs like Michael Douglas, Michelle Pfeiffer, and Natalie Portman are reduced to glorified extras. Keith Uhlich. Trespassers New York, NY. Buy Movies. Get Movies. Learn more. Insider Perks Get your swag on with discounted movies to stream at home, exclusive movie gear, access to advanced screenings and discounts galore. Sign In. Released August 14, R, 1 hr 44 min Drama.
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Hailee Steinfeld, Avan Jogia Dive Into ’80s Punk Scene at ‘Ten Thousand Saints’ L.A. Premiere
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