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shlaifu
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31 Mar 2021, 8:32 pm

ironpony wrote:
I guess her motivation and reasoning didn't mean much to me. So she turned into a murderer, and become kind of crazy, and I think whoopdy doo, that's it? But maybe I just didn't find it compelling enough?


Well, yeah, if you're looking "believable character development", positove role models and heroic deeds and an emotional rollercoaster and whatever people look for in mainstream cinema, this film isn't it.

You know when someone talks philosophy, and you can't really follow his ideas and ask for an example ? - films, and literature, sometimes are like that example, but they don't clearly tell you the philosophy they're examples for. You can think about it yourself, though.


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ironpony
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31 Mar 2021, 11:18 pm

Well I didn't think that those kinds of character progressions I was looking for only exist in mainstream cinema though. Most of my favorite movies are foreign films and they are mainstream. But I still bought into the characters and world more. Perhaps this movie is more about the twists and turns, but sacrifices some of the build up being as convincing for me, and maybe that is the why it wasn't working for me maybe.



shlaifu
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01 Apr 2021, 7:37 pm

Yeah, I think I already mentioned that I agree that on character arc level of storytelling, Midsommar is lacking.

Regarding foreign films: well, there is such a thing as "mainstream" in every culture, and whether it's French mainstream or American doesn't make an awful lot of difference, the French are reading the same books on Hollywood storytelling.

This kind of philosophical storytelling is not really countey specific, it's not like other cultures do a lot more of it.
However, almost every japanese loterary novel I've read falls into this category, and a lot of japanese Films. Princess Mononoke is a good example - the character stuff in it is decent, but it really shines as a national allegory


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