Synopsis
A young heroin addict roams the streets of New York to panhandle and get her next fix, while her unstable boyfriend drifts in and out of her life at random.
Directed by Benny Safdie, Josh Safdie
A young heroin addict roams the streets of New York to panhandle and get her next fix, while her unstable boyfriend drifts in and out of her life at random.
Amor, Drogas e Nova York, Mad Love in New York, 神様なんかくそくらえ, Bóg wie co, Бог знает что, かみさまなんかくそくらえ, רק אלוהים יודע, 헤븐 노우즈 왓, Yanlız Cennet Bilir, Mad love in New York, 天知道
watched too much love island and needed something opposite. this was perfect. 10/10 and extra points coz isao tomita does something to me. ps can’t believe sean shot our movie. he is beyond.
Someday, I'll write about this "film."
Someday, I'll write an actual review;
a long, and hopefully well constructed one,
voicing my thoughts on its replication of reality.
For now though, it's much too raw, much too close of a memory.
I never thought that I would actually see my friends again:
the ones who died, the ones who I lost to chemicals,
to impulsivity,
to dependence,
to attempts at escape.
Never knowing what they were risking,
the hurt they would cause,
the sadness that would spawn from their whitening faces,
their lack of blood flow, their ends.
Heaven knows what?
Heaven knows nothing.
This "film" is no film at all.
It's a mirror, and I want to break it,
so that I never have to look into it again.
Never see their faces or hear their shouts,
their reminders of what is black and can never be fought.
Was never a homeless junkie, but I have been high on heroin at a White Castle, so I can definitely say that part is pretty realistic.
Uncut Gems Hype
Ofcourse Caleb Landry Jones is in this. On that note if the Safdie brothers never utilize Steve Buscemi in one of their films their entire career was a waste. Anyways, this is one of the grittiest things I’ve seen. A lot grittier and more authentic than Good Time. That said, what it makes up for in grit it loses in empathy. I didn’t care about Harley the way I did with Connie. We spend a lot of time with these characters and experience every part of their lives with them but never really get to know who they are. For as intimate as this was I still felt like an outsider.
so buddy duress spent the entire filming of this on the run from the police.. what a legend
"Do you want a fucking key in your eye?"
So are the Safdie's the only NY directors interested in class? Before getting to that - this seems the most intelligent filmmaking I've seen come from the recent run of New York indies - the film runs the risk of falling into social realism but applies a dexterous usage of both classical and anti-classicalist techniques in order to submerge us into Harley/Arielle's subjectivity, often refusing to match shots so that we encounter a dissonant experience of what a particular space is, matching Arielle's own experience of a specific event. But where this gets rather striking is in the usage of music - melodies (all electronic) are used as though ambient sound…
the safdie brothers aka connoisseurs of accelerated heart rates and anxiety induced cinema