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Colman is unsurprisingly excellent, but Jessie Buckley as Leda’s younger self is mesmerising, punctuating the middle-aged Leda’s peace with ghostly keenness." Read Anahit Behrooz's full review 15.
Director Maggie Gyllenhaal’s eye is extraordinarily perceptive, the camera almost indecently intimate in its attention to the unhappy puckers of Olivia Colman’s mouth, to the heady sensuality – hands pressed in underwear, creased bedsheets – of frustrated desire. " The Lost Daughter is based on the Elena Ferrante book of the same name and it translates Ferrante’s trademark probing of womanhood’s ugly, wounded centre with shattering vitality. Petzold also likes to weave genre elements into his ostensible realist dramas, but Undine’s clash with fantasy and reality make it quite a different beast from his run of extraordinary films this century." Read Jamie Dunn's full review 16. In 2007’s Yellen the title character is a literal ghost, while in films like Transit, Barbara and Phoenix we follow people trying to throw off their own identity and escape their past. His protagonists tend to be adrift from their surroundings. "Undine is of a piece with Christian Petzold’s earlier work in several ways. And, of course, there’s Annette, a puppet: perhaps a statement on celebrity children, perhaps just another way to heighten the film’s artifice, perhaps Carax just didn’t want to work with a child actor." Read Katie Goh's full review 17. In Annette, he gleefully leans into the illusionary magic of classical cinema during the film’s greatest set piece, the couple dance across a ship’s deck in front of a projected storm.
By day, the world is kitsch and candy coloured, all pink coffee shops and quaint local pharmacies, while by night we’re in a seedy, neon-lit world curiously scored to a slowed-down version of Britney Spears’ Toxic, which incidentally sounds remarkably similar to the atonal strings of Mica Levi’s score for Under the Skin, another film about a woman scouring the town for horny men." Read Jamie Dunn's full review 18. The aesthetic suggests Jeff Koons by way of Nicolas Winding Refn. "Visually and sonically, Promising Young Woman is similarly full of contrasts.