The State of Things is a highly personal film about filmmaking in Europe and America. It is about a film crew stranded at the westernmost tip of Europe. The director, Friedrich Munro (Patrick Bauchau), and his cameraman (Sam Fuller), scriptwriter, and actors have been abandoned by their producer. After shooting their last feet of film (they are working on the remake of a low-budget sci-fi thriller), there is nothing left to do but wait. Friedrich finally sets out for Los Angeles to search for the missing producer (Allen Garfield). Friedrich finally finds him on Sunset Boulevard, in his RV, where he is hiding out from the mafiosi or loan sharks who are after him. The two have to pay with their lives for their black-and-white film adventure the following morning. Friedrich continues to “put up a fight” by “shooting back” with his Super 8 camera until the moment of his death. Wim Wenders’s parable on filmmaking has also been interpreted as his way of addressing the difficulties that he faced during the production of Hammett, his first film in the United States.
With his lush and sensual visuals, pitch-perfect soundtracks, and soulful romanticism, Wong Kar Wai has established himself as one of the defining auteurs of contemporary cinema.
Four charming comedies from Eric Rohmer.
“No one sees anything. Ever. They watch, but they don’t understand.” So observes Connie Nielsen in Olivier Assayas’s hallucinatory, globe-spanning Demonlover, a postmodern neonoir thriller and media critique in which nothing—not even the film itself—is what it appears to be.
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