Canadian Canadian director Celine Song is modest in his scope and intimate in feeling, but listening closely to her words – she says nothing about her silence – and you will hear whispers of great ambition, and even bey. “Previous Life”, has been a Début feature, since 2023, a small story of cultural and romantic confusion. The story overwhelmed countries and decades of time, she jumped in a Slop in time-after the passage of a quarter of twenty years forward, forward twelve years, etc.-with calm confidence in the greatest picture. The three main characters, like a song, her husband, and her childhood lover, have talked about the concept derived from Buddhists InyonThis is what is assumed that love is not only fate, but also mastered for centuries, through endless courses of new birth.
Now I wrote Song and directed a new movie entitled “The Maadi”, which is, such as “Last Lives”, a triangle without evil. No one rises against anyone, but no one calls for old proverbs, too. It is revealed in the current New York, despite the presence of two scenes of reservation, they were placed in prehistoric times, where we see two of the cave residents legitimizing an early human love story. The film suggests that love has always been a strategic matter and materials, and the issue of hunting and skilled gathering. Your ears excel when you recommend one character about forty minutes (and tens of thousands of years) later: “You say you think I am smart, but you are talking to me as if I was a cave man.” coincidence? In Song movies, there is no such thing.
The non -leader is Harry, one of the most qualified Bachelor’s degrees in Manhattan. He addresses the protagonist, Lucy (Dakota Johnson), a thirty -year -old dates maker of a high -end company called Adore, which offers comfort to the New York residents tired of beating and appeal. Lucy is trying to explain to Harry why the two are not an ideal occasion: Harry, in the language of industry, “Federal Century”. It is tall, handsome, and a fatal magician-to put it in another way, played by Pedro Pascal-Senteh a job in private property rights of Tripka with a value of $ 12 million. He can fail his dreams to Iceland in a moment. For him, Lucy is that woman, but she insists that he can do what is better.
Lucy gave a pragmatic pragmatic outlook for love. It also trained it on the vision of women and men as human conservatives, nothing more than their total financial and financial features. Some customers, such as Sophie and sympathetic to the winter of a terrible fragile Zoe), bear the insult of the process in good faith, and they are desperately handed over to one non -fruitful history after another. Others are more demanding about what they want in a partner, and they exaggerate without being shy at their points of sale. Lucy, for her part, is honest without mercy on her own market value: she is a university leak and a failed actress and manufactures eighty years a year. “Do not add mathematics,” Harry, who can easily find a smaller, more rich and more convenient person.
Harry, though, has a cute Rejonder: “I want to be with you for you Incisive Assets, “Imagine. The great actor, as the clichies say, can make the phone notebook to stand out; Pascal hints about the emotional possibilities that are not exploited for the public budget. Even Lucy, who wants to marry Rich herself, cannot resist her completely, move somewhat, move, move, move, move, influence, move to steel a new young heroine to” Fifty Shades of Gray “(2015).
But there is another horse that is more necessary in the race: her ex -boyfriend Lucy, John (Chris Evans), who appeared on the same night to meet Harry first. John, who is a waiter in food and an ambitious actor, has not overcome Lucy, and she also maintains more than just a spark of affection for him, despite the financial pressures whose relationship ended some time ago. The flashback finds them stuck in Times Square Square, arguing with parking fees: “I don’t want to hate you because you are poor,” Lucy is crying. Once you exceed the cognitive dissonance of Madame Web Dump Captain America, you realize that this is not just disintegration; It is a collapse point, the moment when Lucy realizes and admits that she is more interested in money than love. It is a great moment of disappointment, but Song has another in her store – one that may return Lucy yet to a hopeless romance of it, if not completely bankrupt. All you need is a good and fast kick in assets.
The song was a theater writer before it turns into filmmaking, and many of its theatrical works, which include “Endlings” (2019) and Corona virus disease-SEAGULL on The SIMS 4 (2020), revealed healthy and intertwined doubts about classic narrative forms. With the “materialists”, it raises the romantic comedy decorations in Hollywood – the type that, unfortunately, all disappeared from its course in the cinema – with a massional embracing and slight wrinkles from the nose, as if it had not fully trusted the goods that it sells. Certainly, it turned out that the movie, like some Lucy’s customers, announced something and wandered in something else. It often seems to be a romantic comedy, thanks to the soft foreplay of the sun in the fake Shapir Kirchner pictures of the pink bubble in Adore offices, where Lucy gets advice from a straight coach (Ireland Marine Excellent). There is also no one or a wonderful wedding-the first to striking about the splendor of the city center, and the second is a prominent relationship in the UPSTATE-which has appeared the longing of romantic characters in sad relief.
But the “materialists” do not do so much voice Like a romantic comedy, at least not in the traditional sense. Distinguished songs, in line with the increasing Daniel Pimberton degree, heading towards Moody Metropolitan Rhapsody: Cat Power “Manhattan”, Harry Nelson “I think the Lord should be in New York City.” The characters may flirt with one moment and speak frankly the heart on the basis of the hearts the next day, but the song has sparked any trace of the volume of the screw from speed and dialogue; Here, as in the “past life”, its managers are directed towards bouts of weak self -thinking. A little of this cuts a long run, and looks a little bit of comic strength and shots. Only when Lucy and Harry Betmar on dating economies, the scenario is close to the sparkling rhythm of the banter.
From time to time, there is Montages ZipPy from fair customers, filling Lucy ears with absurd demands and impossible narrow preferences, some of them of sexual bias, age, and racist without controversy. But the motivation behind these scenes feels less socially comedy. Song herself once worked as a super maker, and she is keen to expose two industrial scourge: intolerance without shame, and in a bold sexual distortion, but he is poorly handling them. You can be able to refuse Song to be ashamed of the ugly facts of modern dating, as well as its willingness to hole the ROM-Com. But there is something doubtful about how the film is published for sexual assault as a conspiracy device, with a helpful character shock as a way on Lucy Road to Learning and Romantic Loyalty.
It is logical that Lucy, a feeling of guilt and frustration, may reconsider her working line. I have a greater problem with belief, as the second half of the film suggests that it will immediately abandon its arduous irony about romance, or its sharp understanding of its desires and needs. Johnson Maher played both sophisticated and naive, but she is a patient who served her a story that insists on showing Lucy a mistake in her conscious ways of money. I don’t buy it, Jane Austin will not buy it, and I do not think the song is buying it. In an attempt to integrate the pleasures of fugitives with financial facts, “material” is roaming alone.
Consider two main sequences, which seems rarely belonging to the same movie, which are all more news about its overlap. In one of them, Harry Lucy brings home for the first time, and it is clear that Lucy has been turned by his fifth as it is. The slow Kirchner camera, which is loaded in every inch of space, is not less seductive. Compare this with a glimpse of John’s narrow apartment, which he shares with two of the Sloving room colleagues directly from Jude Apato, which seems to be the film may tolerate more than a minute. The text of the song may say one thing, but the film industry does not lie.
Unemployment in “materialism” exceeds real estate; They extend to the suitor Lucy themselves. John is a stereotype of the hunger artist in searching for a character, and Ivans, who is always treated with an angular and harmful screen, is more than a large piece of a large piece. But Harry, despite all its designer Mr. Ribs, rarely stops a surprise to you, and the scene after the magnetic scene leaves you wondering how this problem can stumble in the alleged mathematics. “Maadi” is a Pascal triangle, normal and simple. What is the other solution can be there? ♦
