What kind of movie with Natalie Portman is being broadcast on Channel+?

Elizabeth (Natalie Portman), a popular actress in search of true dedication, is immersed in the life of Gracie (Julianne Moore) for the future role of her son. In fact, this fifty-year-old film is in pre-production due to media scandal (hinting at the divers’ survival of the 1997 Seattle event). ). This is the beginning of an extramarital relationship with Joe, embodied by Charles Melton (an alumnus of the series Riverdale), a 13-year-old teenager at the time of the events…

Malgré la déferlante mediatique, Gracie is the most beautiful woman with Joe and currently with Louis and the children, living in peace and eternal youth, restless, digression on the question of the arrival of Elizabeth, de plus en plus determinée à exhumer Gracie’s passage for my preparation for future role. Joe, don’t make the birth appreciated by everyone at the university, don’t remind all the evidence I saw in the father who was a great brother, don’t think that the corpus meme semble être encore Prisonnier de sa prime jeunesse alors qu’il approche la quarantine.

Faites entre l’accusée

The film begins with a chapeau de route following the rhythm of the original gang du. Messenger Joseph Losey (Palme d’Or 1971), composed by Michel Legrand and arranged throughout the film by Marcelo Zarvos. D’aucuns croiron in the episode Faites entre l’accusé, not le générique imitates Legrand’s iconic theme. Is Todd Haynes’ film dragging down the lives of divers?

Heureusement, le implementer de Carol – who cannot (on fear) se douter de l’étrange résonance produite chez le public français – evacuate le doute et rassure quant à sa capacité à “parasiter” un cinéma très codifié (le mélodrame dans Carol You Loin du Paradis, biographical film I’m not there etc.) et de faire précisément Germer des portraits of complex characters in les brèches qu’il s’emploie à percer dans le genre, dans tous les sens du terme.

General posture when entering the game: in the film, in the plus before the Papillons, when Joe rises in the long film, May December If you are present as a study, and all you have chosen is the observation stage of the entomologist’s experience. Pas si étonnant de la part d’un cinéaste bien connu pour dépeindre des personnages de femmes (ou s’amusant justement de l’insaisissabilité d’une identité fluide et indécial, comme dans Velvet goldmine etc. I’m not there) price dans des espaces conlines, enfermés dans la panoplie de la housewife – Safe, Loine du Paradis, Carol or mini-series Mildred Pierce (GBO).

In this small laboratory—on the edge of a ridge, as Christopher Blauwe’s photography (chef in the style of Kelly Reichardt) sets frames fois doucereux et clinique—Todd Haynes poses as an observer of metamorphosis. Celle d’une Actress, d’abord, at the moment of time when he observes, presque à huis clos, la resistance que lui conpose of Gracie, interpreted as Julianne Moore, brilliant, ambiguous and precise. Ou plutôt, Haynes registers tentative metamorphoses, tantôt périlleuses, voire lamentables (Elizabeth ne parviendra jamais vraiment à se glisser dans la peau de Gracie), tantôt empêchées (Joe restant malgré lui larvé dans le cocon d’une adol escence).

Julianne Moore, not the main great role (Safe, 1995) opens the film matrix of Todd Haynes., se glisse une fois de plus dans la panoplie de la femme au foyer affichant une double existence, à la fois public et privée, against the miracle of intimacy à la performance du public personnage.

Realist Dark Waters (2019), which work “toujours sur cet entre-deux et sa porosité”, are “setter at a distance plus irony, voire cynique” to consider these two actresses playing in chat and in the soul. In addition, the character of Gracie is an obvious place in terms of the meme that the invisible Elizabeth, an actress in manner, is not a cinematic laisse planer le doute sur la morality. Finally, Gracie Purrate advertises also bien être la sacrifice son of double mediatics, which is a great orchestra.

Alien vs. Predator

Todd Haynes has not gone over to the side of the pedestals on the platform, multiplying without belief the shots or shots that morph into the world as the two women observe a mixture of appearance and adversity. The Greatest Scenes May December the constituent part, paradoxically, is the principal of Pierre d’Aschoppement.

The scenes with Elizabeth/Portman and Gracie/Moore are “contrived”, as if they were written in this mirror chamber – in the house of Gracie d’Abord, in the clothing store – having the effect of doubling the silhouette of Gracie, who dominates the scene and encloses Elizabeth in a predateur autour de sa proie.

These tables are invented, accomplished, compiled, and meta-reasonings are performed. Here are two actresses who see nothing but Haynes’s mise-en-scène unfolding in a geometric shape that you view as ludicrous. Savouryo – surtout lorsqu’il s’agit de voir, within the meme plan, Natalie Portman reinvents and Julianne Moore consoles the genie’s son – but most of all it’s about subtlety.

The entire film also aims to establish symmetry between the two women, never positioning itself in terms of one or the other. Haynes rests at a certain distance at which one can pass the point of view of Grinsant and le Malin Plaisir du Cineaste Américain à Laisser ces two characters s’entredévorer (symboliquement, tout du moins). These great scenes “in the world” qui, du fait de leur statut Instantané de pièce maîtresse, condensation in quelques plan-sequences tout le program du movie, atténuent paradoxalement la puissance de l’ouvrage.

From Todd to Another

From this duel in Venena, Haynes extracts a certain zest for the disparate farce that is the sofa-spirit of the series that is not a pas-with-rappeler. Tar de Todd Field, who also uses the first time to remove the mask of strange realism before dispelling the problem in the second part.

But, in the spirit of Todd Field, this unlucky son is a tyrannical orchestra chef character, embodied by Cate Blanchett, in order to help me better criticize the general morality of dominants (also bien de la cancel culture et du Progressisme que de la Domination of Define Elite Se Faisant le Héraut de L’Universalisme et de la Pureté de L’Art), Haynes succeeds in creating an enterprise déjà bien avancée dans sa Filmographie – Cette Fascination pour “le sujet et son double” ”, which is prevout heureusement de tout nihilisme.

Portman and Moore are excellent in their portrayals of the two, who are both funny and serious, as well as some ambiguous scenes that could be funny but are more effective.

Like Lorsk Elizabeth, method of action I undertake, return to the place of adulthood in the mimante of the students of Joe and Gracie, or this last boy, the son of “enquête”, arrived in the son of terme, an apparatus with a facial camera in the beautiful Gracie.

Julianne Moore confirms that Natalie Portman happened, as long as she is, on the roster or was not present at work and did not attend work as a female ass saving the great actress (which cela ne passe surtout pas pour de la misogyny part of Haynes, loins de la) and what is proof of the incarnation of the model’s hardworking son.

Haynes rejects parfait’s deconstruction of the Hollywood image, criticism he sees method of actionThe Héritée acting studio technique is becoming a must-pass in Hollywood for those who love the Oscars.

This is a refinement and demonstration of Elizabeth’s habitual performance when Haynes disappointed him in the cinema and, se-faizan, a true ending in a film that is an interpretation in the sense of unique: il n’y a d’identité que fuyante, insaisissssssable, plural, et l’ Autre restera ainsi toujours inaccessible, mouvant. “Shakespearean proverb in the world is like in a theater, in some kind of world.”

Yeah May December He rests in the beautiful and carefree state of a person on this line, and another embryo of the film voit heureusement le jour lorsque le cinéaste devie de ses actresses to focus on the character of Joe.

Ici et là se Profilent quelques scènes intimistes, anodines en Apparence – son fils lui offrant son premier Joint sur le toit de leur maison, par exmple – et qui, tout en étant bien moins voyantes que la Performance en miroir des two leading actresses, laissent Imagine the aura that is the real new drama of a long film.

May DecemberTodd Haynes, with Julianne Moore, Natalie Portman and Charles Melton, 1 hour 57 minutes, released January 24, 2024.