Buffet of Cinema: Cold War (2018)
Warning: There’s probably going to be as much said about Roma in this review as there is about Cold War. Don’t roll your eyes. You did this to yourself.
So I saw it: the movie everyone was pissed lost to Cuarón’s Roma even though Cold War had “better cine.” Eh.
There is something surely more controlled in Cold War’s lighting, the compositions are more meticulously and decoratively arranged, with a huge focus on mise-en-scène (which can especially be appreciated in some of the gorgeous static shots that feel like MCU’s but leave so much headroom that it also acts as an establishing wide — THAT MIRROR SHOT!!!).
The movement and the lighting are so reminiscent of Hitchcock’s Notorious — appropriately so given Cold War’s setting — but I had to check myself: Cold War feels like a 2018 film. And by that I mean: there isn’t a lot, outside of the nostalgic black and white, pillar boxed compositions that screams 1950s-1960s. It looks the part. The situations play the part. But there’s so much about this that screams contemporary cinema — even in the leads’ performances (they are both brilliant, even still, but not much is asked of them in terms of gusto).
As for the narrative and editing, I was constantly intrigued. Cold War does that thing where it spells out the movie for you by having some random character at a party go on a self-indulgent rant (think: the midpoint monologue from A Ghost Story), but… it was able to do it in one sentence.
And it was beautiful.
Easily my favorite moment of the film, actually.
I found myself enjoying the lack of image serving as an ellipses more than I ever have before (with the possible exception of Villeneuve’s Enemy), but… I was never sold on the film’s structure. Recently, this has been more of a popular way of presenting something linear (breaking it up into snippets over a broad period of time, in a short period of time for the viewer’s sake), however, I really think it starves the audience of key developments in the characters, making it a little more difficult for the audience to understand the new dynamic between frequently seen people.
While this film was the least problematic for me (in terms of catching up to speed), there was a critical moment in which I needed to understand that our leads had a serious falling out. I didn’t quite piece it together until it was too late.
On the other hand, I think there is more to be admired with Cuarón’s film. Roma, to me, doesn’t give a damn about Hollywood’s rules, constantly moving the camera in instinctive ways that naturally reveal new aspects of the film over time. It feels nostalgic, far beyond its shadows and highlights. It’s cohesive in its approach to being something altogether separate and representative of the filmmaker. It’s an auteur’s legacy.
So to make this blunt and rather irreverent:
Cold War is an artsy fartsy film trying to be Hollywood, and Roma is an artsy fartsy film that somehow made it to Hollywood.
If you’re looking for a Polish remake of La La Land; inspired by One Day’s narrative structure, edited by the guys who did The VVitch, featuring discount Jennifer Lawrence (Red Sparrow) and Michael Fassbender (Steve Jobs); then… Cold War’s for you, man.
