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There were three layers of the storyline that unfolded in this movie:
1. When the incel revealed to the audience how he got himself a companion robot
2. When the companion robot revealed to the audience that she had to kill the incel
3. A frame-up subplot that the incel organized with his friends to cover up a heist and put the blame on the robot.
None of these moved me really. But there's one particular scene in the movie that, for me, is thought-provoking: It's when "spoiler alert" Jack (the incel male lead) forced Iris (the companion robot) to shoot herself in the head with a gun.
There was a split second of resistance when she shouted NO before pulling the trigger.
It was a nice touch.
And necessary.
Thanks.
Kinda made me think about how women are treated in our society—people always say women have better options to save themselves in risky situations, but in truth the perpetrator (not all men but often men) manipulates women to choose the worse option.
Basically, this movie, if not political, is sort of a nod to those who haven't felt seen in a long while.
And I, myself, nod back.
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Went to the theater after my shift yesterday to catch a showing and it made me want to treat myself better
What a movie though. The cinematography is very strong and I appreciated its feminist commentary. I highly recommend it if you don't mind body horror, which I thought wasn't even that bad but then the final act happened lmao
"In the meantime, take care of yourself."
Oct 24, 2024
The countless atrocities committed by the Nazis have been well-documented in the media, but I can’t recall having ever seen a movie that opted to focus on the cold banality of the lives of the Germans who were actively engaged in or complicit with such incredible cruelty. Filmmaker Jonathan Glazer (Under the Skin), inspired by Martin Amis’ novel, has decided to tap into this underexplored area, and the chilling result will haunt viewers for days.
Focusing on Auschwitz commandant Rudolf Höss (Christian Freidel) and his wife Hedwig (Sandra Hüller, both perfectly cast), who are raising their family in a well-appointed home directly adjacent to the camp, we watch them go about their relatively mundane existences. They live better than many of their fellow Germans and have local girls working as servants to help keep up the house, but otherwise much of their time is spent tending to trivial day-to-day tasks, aside from the odd bit of Nazi business that Rudolf attends to from his home office.
Nothing here is truly normal however, a point made very clear shortly into the film when the camera changes its view of the family’s yard to expose the guard tower just on the other side of the brick wall that abuts the property. Given the proximity to the notorious camp, its noises permeate every aspect of the family’s lives. The low hum of the furnaces is ever-present, punctuated by screams and gunshots. Frequently trains can be heard bringing more prisoners, puffs of steam appearing over the tree line. Somehow, the Höss’ and their children go about their day as if they don’t even notice it.
To celebrate one of the children’s birthdays, Hedwig’s mother comes to stay. Initially impressed by the large, well-maintained home and garden, she casually wonders aloud if a Jewish neighbor might be imprisoned next door, complaining that she lost her chance to claim her curtains. As the pair sit on the patio and sounds from the camp impose themselves, she turns to glance at the wall, at least a little discomfited. At night, the sounds of suffering disturb her sleep and she looks out the window, only to see ash and bright flames erupting from a smokestack. She leaves the following morning.
While the atrocities next door are felt throughout almost the entire movie, we never see them. Everything is instead conveyed through Johnnie Burn’s meticulous sound design and the effect is powerful, especially in contrast to the mundanity of everything shown. Cinematographer Łukasz Żal’s striking staging avoids overly prettifying the home while still maintaining a painterly artfulness, often using static, embedded cameras to give the proceedings the sort of voyeuristic feel of reality shows like Big Brother.
A movie may not be the best place to figure out exactly how people can react so blithely to such large-scale inhumanity, so Glazer doesn’t really try to do so. It is enough however to be reminded that the behavior is not only something that we as a species are capable of, but that it is necessary for such evil to be enacted. Hopefully the reminder will help to prevent it from happening again. ★★★★★
RATED PG-13 FOR THEMATIC MATERIAL, SOME SUGGESTIVE MATERIAL, AND SMOKING.
Feb 21, 2024
I expected this to be graphic considering its subject matter but it’s a purely psychological thriller with a twisted bent. This movie gave me chills and deeply unsettled me in ways I was not expecting!!! brilliant commentary on the nature of true crime content, with realistic depictions of technology… The lead is an incredibly fascinating and complex female character. highly recommend if you haven’t seen it…
Sep 26, 2024
Top Recs from @yamerru
When Marianne rubbed a cloth to destroy the first portrait of Héloïse, I knew this film was going to be a once-in-a-lifetime experience.
I loved how expressive both actors were—their gazes, their nuances, and the way they delivered each line... If I may borrow Jane Austen’s words, this film has truly pierced my soul. All the eroticism is steeped in consent.
I also loved the setting: the eerie mansion by the beach, perched on a cliff, was the perfect backdrop for a passionate story I could only imagine and dream of. I felt everything through this movie and adored how both actors flirted and argued until they could no longer speak or touch each other.
Sighhhh... I could talk about this film all day. Another sighhhh... I’m truly moved and have recommended it to my closest friends as a must-watch.
After my first viewing, I can say this movie has left a lasting mark on me and has taken a significant part of my heart. ARGH—I'm in love with this movie!
Oct 31, 2024
Ari Aster is like a friend you seldom see, but when he shows up, he reminds you why you chose him as your person.
Beau Is Afraid is a collection of postcards you never wanted to receive—yet you did. Each one is from a journey that’s good, bad, and, honestly, indifferent.
This movie is a cathartic release, a relapse, and a nervous laugh. Unapologetic, satirical, and truly toxique—practically useless!
Though Beau Is Afraid is drenched in chaos, it remains committed to its purpose: to make you see and say the things you've always wanted to express.
Ari Aster had no filters—and then decided to consume the last bit of poise you as an audience had left. This movie is a dump of weirdly familiar scenarios.
With Ari Aster, it’s always a dream, a coma, and a selective amnesia.
Well played, AA.
Sep 10, 2024
Probably the best episode of PBB-PH to date.
Politics at its finest.
When you're an open book, a smiler, a conversation starter — totoo ka.
But when you're quiet, guarded, and shy — fake ka.
Well, it is what it is. Just captured on camera.
𝙏𝙬𝙤 𝙘𝙚𝙣𝙩𝙨:
𝘽𝙚 𝙘𝙖𝙧𝙚𝙛𝙪𝙡 𝙤𝙛 𝙩𝙝𝙚 𝙥𝙚𝙤𝙥𝙡𝙚 𝙬𝙝𝙤 𝙖𝙧𝙚 𝙖𝙡𝙬𝙖𝙮𝙨 𝙥𝙧𝙚𝙨𝙚𝙣𝙩 𝙞𝙣 𝙘𝙞𝙧𝙘𝙡𝙚𝙨 𝙬𝙝𝙚𝙧𝙚 𝙘𝙤𝙣𝙫𝙚𝙧𝙨𝙖𝙩𝙞𝙤𝙣𝙨 𝙝𝙖𝙥𝙥𝙚𝙣 𝙞𝙣 𝙬𝙝𝙞𝙨𝙥𝙚𝙧𝙨.
Apr 5, 2025