![]() The director's flirtation with terror, however, goes beyond social issues. While the milking done by Cookie is not a lateral intrusion, its verticality in relation to the proportion of the canvas can be understood, since, if he decided to go up, the talented cook would arrive at Factor's rich room. An example of this process is when, in order to milk the nice cow, Magaro's character needs to head towards the house of Chief Factor, which is shown in the background and at the top of the image. In this case, Cookie and King-Lu are exposed, finally, walking towards the depth of field and not laterally. In addition, Reichardt always seems to have total control over his plans, demonstrating a formalism designed to flirt with both the drama of the duo and the terror of seeking what you want without real (or legal) opportunities for it. ![]() In this onslaught, in addition to choosing not to show the Captain trying the Cookie recipe (he only sees it – the life of appearances), the director demonstrates the interest of Jones' character in impressing futilely, even serving cream in the alleged friend's tea and, quickly, dropping everything there – without a single sip – to show the cow you acquired.Ĭhief Factor and the Captain. On the contrary, the powerful, moved by more superfluous interests, can move on many levels, but hardly have a friendship like that developed by the protagonists – something that is exposed with the attempt by the lone Chief Factor to impress the Captain (Scott Shepherd) with a blueberry cafloutis. It is a companionship that seems to be cut by necessity. This displacement, which gains strength due to the less horizontal image than usual, creates a visual metaphor that, even pessimistic, can be very real: that, no matter how much the poorest try to rise socially, they will spend most of of time going from side to side, without leaving exactly the place – but at least they can be armed with friendship. Movies, Series, Music, Books and Magazines and also free shipping on Amazon for R $ 9.90 per month, with free trial for 30 days.If, by means of the aspect ratio 4: 3, it shortens the distances to be covered by both Cookie and King-Lu and the supporting characters and extras that cross the screen, simultaneously the director creates an aesthetic metaphor that is socially devastating: only the most favored as the Chief Factor (Toby Jones) do not walk around the image they already appear in their markings through the assembly of Reichardt itself or they move in two other directions: at depth of field or from depth to foreground. Time, then, is overwhelming from the point of view of Reichardt. From there, achieving the desired goals seems to be a matter of time. From this point of view, the friendship chemistry developed between the two is so strong that it turns out to be evolution itself. In the midst of this stagnation, there is a daydream that everything seems to be going. At the same time that the protagonists Cookie (John Magaro) and King-Lu (Orion Lee) have a past and talk about it among themselves and, occasionally, for those who pass through their paths, they demonstrate to be in an intense search for the future : they plan, they get excited about the possibilities … But the script by the director and Jonathan Raymond (author of the book on which First Cow is based) seems to hold the characters of Magaro and Lee, preventing them from a significant evolution.
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