Karl Marx City
Not only does Petra Epperlein's documentary shine a small light onto the cloistered history and political definitions of the East German Secret Police force (STASI) of the 70's and 80's, but it's also a highly personal exploration of her family's own hushed history during the same time. How these two spheres of time and place interact with each other is the central mystery. Intensely moving one second when Epperlein films her own family trying to come to terms with their father's mysterious suicide years ago, and coldly historical the next when interviewing ex STASI agents and how the compartmentalization of state always seemed to overrule their own better human judgement, "Karl Marx City" is the perfect example of utilizing a movable camera to peel back the layers.... no matter how painful they may be.
Go-for-broke cinema. No matter how one chooses to interpret Darren Aronofsky's parable of a tortured woman (Jennifer Lawrence) slowly going insane in a large old house when creatively-stifled husband (Javier Bardem) continually infringes on their partnership, "mother!" is daring and inciting. I choose to read it as a guttural feminist howl as every tiny recess of Lawrence's mind (including jealousy, paranoia, resentfulness and abandonment) is displayed- literally- onscreen. "mother!" represents a harrowing dissolution of family and self, eventually exploding into a carnal out-of-body trip through the violent dissonance of time where every mother's horror comes to inflict pain. Losing sons during war... losing daughters to carnivorous men.... and especially losing yourself in the midst of it all. One of the year's very best films.
Saw this on the same day as the 1997 horror movie "Wishmaster" and sad to report, that film is MUCH better than "American Assassin". I'm sick of the kick-ass mercenary fighting terrorist genre.
Plus, TONS of new reviews at Dallas Film Now including "Columbus", "Trophy", "Gook", "Rememory", "Gunshy" and more.