Have you ever seen a film shot with only two camera angles? That's about all you'll have to brag about after watching this.
For a film with this little camera movement, the bread and butter of the story must be in the chemistry of the characters, which unfortunately are given no depth. I find it hard to care about the plights of people who show up onscreen with neither introduction nor apparent relevance. Since the characters are always seated, you might try to extract (or abstract) some meaning from the way that they move or react to the dialogue, but you'll probably be distracted by the people driving by the window and waving at the camera. Either that or you'll have to look really hard, because one of the scenes occurs in almost complete darkness. Seriously though, I wouldn't worry about it too much, because even though the main character develops through her experiences, it doesn't matter, because subsequent character interactions are essentially identical! The dialogue is as static as the camera angles.
Which probably leaves you waiting for the payoff, the epiphany that wraps up an otherwise diluted and uninspired movie. When it comes though, don't expect to care.
It's not that I don't appreciate novel ways of storytelling, or the insight that is often afforded by films that differ from my own cultural perspective. However, it still has to follow a few basic rules - i.e. it must be remotely interesting. Whatever the cultural, ideological, philosophical or political background of the film, if I don't care and relate to the characters by the credits, I consider the film to be a failure.
1/10
For a film with this little camera movement, the bread and butter of the story must be in the chemistry of the characters, which unfortunately are given no depth. I find it hard to care about the plights of people who show up onscreen with neither introduction nor apparent relevance. Since the characters are always seated, you might try to extract (or abstract) some meaning from the way that they move or react to the dialogue, but you'll probably be distracted by the people driving by the window and waving at the camera. Either that or you'll have to look really hard, because one of the scenes occurs in almost complete darkness. Seriously though, I wouldn't worry about it too much, because even though the main character develops through her experiences, it doesn't matter, because subsequent character interactions are essentially identical! The dialogue is as static as the camera angles.
Which probably leaves you waiting for the payoff, the epiphany that wraps up an otherwise diluted and uninspired movie. When it comes though, don't expect to care.
It's not that I don't appreciate novel ways of storytelling, or the insight that is often afforded by films that differ from my own cultural perspective. However, it still has to follow a few basic rules - i.e. it must be remotely interesting. Whatever the cultural, ideological, philosophical or political background of the film, if I don't care and relate to the characters by the credits, I consider the film to be a failure.
1/10