“Obsession” is cinema that loves to surprise. On the one hand, we are dealing with one of the most direct, and at times surprisingly banal, paintings ever painted by Heinz (many of the metaphors flaunt the depth of the pond), and on the other hand – as I mentioned – we are also talking about multiple paintings – a multi-layered title, and in Sometimes it is unclear and open to interpretation.
May December is, in my opinion, first and foremost an existential drama disguised as a tabloid. So: a difficult story inspired by shocking facts, framed by camp, humor and various embarrassments. The director shot in many directions: he dabbled in the movie industry, the tabloids, the vulture public, and celebrity hypocrisy. The creator uses the above contradictory elements to mock himself and undermine his credibility (and the credibility of other creators who are convinced of their psychoanalytic potential). At the same time throw punches and pay attention to another contradiction: between what is actually happening on screen and how we interact with it.
Fortunately, it works much more efficiently and interestingly in real life than it seems “on paper”: when loud melodramatic music collides with a scene that does not match it at all, it is easy to react with laughter, which – taking into account the events on the screen – It often turns out to be just a misplaced reaction. And this is just one of many sources of discomfort: Haynes constantly maneuvers between extremes, carefully creating a sense of discomfort in the viewer. “Mania” is uncomfortable, causing amusement, sympathy, frustration, and a sense of loss. It does not reveal to us one absolute truth. However, I think it encourages individual exploration.
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