![]() ![]() ![]() Karlovy Vary Competition Entry 'We Have Never Been Modern' Challenges Conventional Thinking and Storytelling Salaud Morisset Expands Focus to Features, Boards Sales on Karlovy Vary, Locarno Premieres (EXCLUSIVE) 'Scream of My Blood: A Gogol Bordello Story' Review: Vice News Doc Offers a Powerful if Ponderous Look at the Band Merging drama with what occasionally feels like candidly observational documentary technique (how artificially so, the audience cannot say), “The Girls Are All Right” further blurs matters by naming all her characters (including her own, the onscreen scribe and director) for the actors playing them. When its female characters don Toile-appropriate corsets and hoop skirts, it’s with a postmodern, literally performative sense of irony.įor the five women descending on a sleepy, tucked-away villa at the outset of Arana’s film are all in the theater - four of them actors, one a playwright - with the reflective, hyper-examined ways of being that come with that environment, where even real life is played and analyzed to some extent. ![]() The material’s distinctive period pastoral scenes, depicting gussied-up women in various states of passive repose and their corresponding noblemen, contrast pleasingly with the more modern, less dependent portrait of 21st-century femininity presented in Spanish writer-director-star Itsaso Arana’s short, sweet, winsome freshman feature. The loose, lolling chapters of “The Girls Are Alright” are marked and separated by a simple visual motif: for each one, a different close-up panel of ornately illustrated Toile de Jouy fabric, rendered in various pastel shades against a calico background. ![]()
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