Some grumpy Tweets about Babyteeth (2019) (work in progress)

Some grumpy Tweets about Babyteeth (2019) (work in progress)

More views of - or before - Cambridge Film Festival 2019 (17 to 24 October)
(Click here to go directly to the Festival web-site)

20 August

Some grumpy Tweets about Babyteeth (2019) (work in progress)

A cinematic / shooting style that openly wants to be unconventional - and is, initially, over-burdened with silence¹ - might have been wearying to all to sustain, but Babyteeth (2019) does not do so, and 'simmers down' to be despairingly conventional in this and many other ways.

— THE AGENT APSLEY #ScrapUniversalCredit #JC4PM2019 (@THEAGENTAPSLEY) August 21, 2020

² In the closing credits³ - which, in 'the good old days' of packed cinema-screens, so many were in a near-anxious hurry to avoid (and so miss a 'play-out' track as weird as for Proxima (2019) !) :https://t.co/S556MmUUJh

³ Not IMDb : a 17-word summary is stuffed with error !

— THE AGENT APSLEY #ScrapUniversalCredit #JC4PM2019 (@THEAGENTAPSLEY) August 21, 2020

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Unless stated otherwise, all films reviewed were screened at Festival Central (Arts Picturehouse, Cambridge)

Story-telling : By juxtaposition - or free association ?

Some responses to watching Little Women (2019) (twice) (work in progress)

More views of - or before - Cambridge Film Festival 2019 (17 to 24 October)
(Click here to go directly to the Festival web-site)

10 January

Some responses to watching Little Women (2019) (twice) (work in progress)

¹ Too many to distract oneself with (clumsily trying to note them in the dark), and it may be that they have some origin in the source text(s)² ?

² It has been suggested to the unknowing #UCFF that Good Wives is also being adapted, here, under this title.

— THE AGENT APSLEY #ScrapUniversalCredit #JC4PM2019 (@THEAGENTAPSLEY) January 11, 2020

Thanks for the recommendation, Jim - just *watched* the responses to the question which part of film-making they like most, and then with Greta Gerwig, fascinatingly going off piste, remarking that all of them have made films about faith, and about not wasting what time one has.

— THE AGENT APSLEY #ScrapUniversalCredit #JC4PM2019 (@THEAGENTAPSLEY) January 12, 2020

More magnificent still, on a re-watch :

It bloomed again, in the way that all good film-making will, even though - and because - the overall arc and shape is known :

An earlier scene, anticipating what is to come, has its place - and the tenderness between Laura Dern and her screen-daughter Saoirse Ronan touches more.

— THE AGENT APSLEY #ScrapUniversalCredit #JC4PM2019 (@THEAGENTAPSLEY) January 12, 2020

It seems that Watson was born in Paris, but Florence Pugh (Amy) and she are British. When Eliza Scanlen (Beth) is Australian by birth, one can only look to Saoirse Ronan for a daughter of Concord, MA, as cast by Greta Gerwig who is of American origin... :https://t.co/oapgdgn1hX

— THE AGENT APSLEY #ScrapUniversalCredit #JC4PM2019 (@THEAGENTAPSLEY) January 13, 2020

[...]

In a brand new interview for the New Beverly blog, @SunsetGunShot talks to writer-director Greta Gerwig about Little Women: https://t.co/1ciDfxVFSy pic.twitter.com/EJm3zkPK24

— New Beverly Cinema (@newbeverly) January 13, 2020

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Unless stated otherwise, all films reviewed were screened at Festival Central (Arts Picturehouse, Cambridge)