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Thread: Disobedience (Sebastián Lelio)

  1. #1
    Moderator TGM's Avatar
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    Dec 2010

    Disobedience (Sebastián Lelio)


    Director: Sebastián Lelio


  2. #2
    Moderator TGM's Avatar
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    Dec 2010
    The movie was fine, though a few odd things about it stood out. For one, I spent pretty much the entire movie thinking it took place in either the 70s or the 80s (leaning more towards the 80s given some of the strange editing choices, which I'll get to in a bit), and there's really nothing in the movie to suggest otherwise for the most part. But then suddenly, with about 15 minutes left to go, Rachel Weisz pulls out a modern day cell phone to take a call, and at the last minute it became apparent that this movie was actually taking place in modern day, which really sorta just took me aback. Nothing prior to this brief scene alludes to it taking place in modern day, and nothing after the scene does so either. It almost makes me wonder why they couldn't have just found another way to accomplish the same thing without having to use the phone, and just keep the movie mostly timeless, because suddenly I found myself asking a lot of questions, particularly as it concerns the way people behave in this movie, now that we know that it indeed takes place in modern day.

    The other thing is, whoever was in charge of the credits and title card, they clearly had a radically different idea about what this movie was, compared to what the movie actually is. For the most part, the movie's a relatively slow, quiet, dreary and dramatic film. This goes for pretty much every aspect about it, from the cinematography and darker colors, to the music and the performances. Yet when the movie's title first appears on the screen after the opening scene, it's this really bright and colorful neon font that really stands out and takes you out of the film with just how stark in contrast to everything else it is. But right after we see the title, it's back to being super dreary and dramatic, all the way until the film ends, and suddenly, Love Song by The Cure cues, and we're back to that bright neon font, like we had just sat through some bright upbeat and poppy indie flick, as opposed to the slow and ultra-dramatic film that we actually sat through. And it just instantly pulled me out of the moment and left me leaving the theater more confused about this ultra bizarre choice to close on this loud rock song that doesn't at all fit in with the tone of anything else that came before it, rather than pondering over anything else in the actual movie. I dunno what the hell that was all about, but it was almost like someone involved with editing had a chip on their shoulder and set out to sabotage the film, and yet these bizarre contributions somehow managed to stay in the final cut all the same. I dunno dude, but it was just weird, enough to where it's honestly the most I really have to say about the movie.

    That all aside though, the film was otherwise fine. I've seen this sort story done before, and done much better, but it was alright.

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