More views of - or before - Cambridge Film Festival 2019 (17 to 24 October)
(Click here to go directly to the Festival web-site)
Driver (D) and Joe (J) are, as one recalls, [capable of] being exploited— THE AGENT APSLEY #ScrapUniversalCredit #JC4PM2019 (@THEAGENTAPSLEY) December 25, 2019
Drive says little or nothing why D does 'jobs' outside his mechanic's, etc., duties or does not seek better reward (from Shannon)
Allusively, Lynne Ramsay shows us much more about J, but both are film noir
* Ah, but I's car has over-heated - and she has shopping, and her son...— THE AGENT APSLEY #ScrapUniversalCredit #JC4PM2019 (@THEAGENTAPSLEY) December 27, 2019
* The lift again, and her apartment
* The immediate dialogue :
I : So, have you just moved to LA ?
D : No, I've been here a while.
I : You're just new here [the building] ?
D : H'mm, m'mm.
When Standard (Oscar Isaac) has been beaten up, and D finds B and him, he hears - as a man already hooked - the story of the mushrooming protection-money, and the job at 'the pawn shop in the valley' :— THE AGENT APSLEY #ScrapUniversalCredit #JC4PM2019 (@THEAGENTAPSLEY) December 27, 2019
D has even driven B and I
Afterwards, I feigns not to know what S has told D
A whole other debate opens up, when one takes the nobility of the cause into account in cases of explicit revenge, as to whether the violence is justified, e.g. The Villainess (2017) [https://t.co/5OwELtTujd], or Tarantino's stylized fountains of blood in Kill Bill Vol. 1 (2003).— THE AGENT APSLEY #ScrapUniversalCredit #JC4PM2019 (@THEAGENTAPSLEY) December 27, 2019
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Unless stated otherwise, all films reviewed were screened at Festival Central (Arts Picturehouse, Cambridge)