I liked this for about the first half – the repetition of her name that slowly morphs made me think about those times when words start to sound funny when abstracted. This combined with the images of a young girl gave me a nice impression of malleable identity and self questioning. But then it overstayed its welcome and I never wanted to hear the name Oona again.
Another great Wiseman film. I haven’t seen a film of his I didn’t like, but I think I prefer the earlier ones with a little more bite like this. I still don’t understand how he gets the access he seems to. Is it public right to film police officers? I just can’t imagine they wanted to have images of them choking women on screen.
This movie annoyed the shit out of me. On the one hand it felt like it thought it was subversive, but it was still stuck in the kind of Hollywood film making that was going away at the time.
And all those people saying how they feel.
And the characters being more ideological cyphers than people.
And that stupid love triangle/square with the awful porno music and people looking wistful.
Oh and the tedious battle that seemed like it took up the last hour of the film.
No, no, no.
It is called “surreal” but there are really only a few moments of anything close, and all of those either seem like lame jokes out of a Doris Day movie or fantasies of the characters.
Even Peter Falk can’t save this thing.