The summer’s second blockbuster is a masterfully crafted film structured in three acts over three hours as it flashes between present, past, and future. ( Arts Fuse review)Ĭoolidge Corner Theater, Somerville Theater, Kendall Square and elsewhere The film has generated more publicity than any in recent memory, producing a slew of kitsch fashions and thought pieces on the significance of a doll that still sells an estimated 164 units every minute.
Whimsical and cartoonish, the narrative serves up a forthright polemic on battling the patriarchy. This audacious surreal fantasy is more than the sum of its dazzlingly plastic parts. Ryan Gosling’s Ken and Margo Robbie’s’s Barbie in Barbie.Ĭoolidge Corner Theater, Kendall Square and elsewhereĭirector Greta Gerwig has created a surreal pink pop universe where Margo Robbie’s Barbie goes up against Ryan Gosling’s Ken (one of many so named) to thwart attempts to take over Barbie World. It’s little things like ‘pillow shots’ that have allowed Ozu to create his own unique cinematic language.” The HFA home page for the series offers an eloquent analysis of Ozu’s contributions to the history of film. The idea was to give viewers room to breathe or provide them with the time to contemplate what they had just seen. When we arrive at a significant moment, Ozu cuts to ‘pillow shots’ or perfectly composed shots of landscapes, street signs, or inanimate objects. Widely considered the most Japanese of all film directors, his films feature no heroes or villains.
Ozu’s films exercised the most discreet rebellion against cinematic norm. From : “He broke every rule there was and did it the subtlest way possible. This landmark series spotlights the films of one of cinema’s greatest artists, Yasujirō Ozu. A scene from director Yasujirō Ozu’s 1933 silent gangster film Dragnet Girl.
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