![]() Don't go out of your way for it, perhaps, but this is well made and, I believe, deserving of wider recognition. Answer 1 of 15: Not a question, but a film I watched last night, Bliss, starring Salma Hayek and Owen Wilson, has many beautiful scenes that were filmed. For that niche audience, however, this is a minor delight, well worth checking out if one has the opportunity. 'Glück' is certainly the sort of picture best suited for those of patience and open-mindedness, receptive to the oblique, soft-spoken grey area of cinema. It waits until the last ten minutes before the end credits to provide a hushed "a ha!" moment for both Maria and Sascha, quite effectively and neatly tying the whole together, but I get how this may not be sufficient for some. I can certainly understand how this may not appeal to all comers the presentation is so emphatically low-key and subdued, declining any major vibrancy, that it may be difficult for some to latch onto. The film is a product of writer-director. ![]() All those behind the scenes also put in fine work to bring 'Glück' to life, not least production design - and the result of all this is a film that's roundly satisfying, even if there's never a moment that's pointedly grabbing, or that specifically resonates. Welp, Amazon Prime’s Bliss is an early contender for 2021’s WTF crown, awarded to the movie that’s a head scratcher all the way down to the skull. I admire Henrika Kull's strong direction as much as their characters, scene writing, and overall narrative bare-faced as the movie is all around, the skill with which it's its put together is appreciable, infusing a sense of proverbial color into a title in which it's otherwise consciously suppressed (and arguably literally so, in terms of the fundamental image). Convoluted doesn’t begin to describe the sci-fi drama Bliss. Owen Wilson and Salma Hayek in the movie Bliss. Among a cast that otherwise performs well under the realist tone of the picture, stars Katharina Behrens and Eva Collé of course stand out the most with the especial depth and complexity in their characters and their relationship. Review: Owen Wilson isn’t the only one confused by the end of ‘Bliss’. We're treated to familiar themes that, for lack of any adornment to dull the point, become all the more stark and harsh. This is all the feature needs to be, however, for it to be engaging and softly compelling. So, yes, 'Glück' is a lesbian romance, but only insofar as it's a component of the tableau before us. And what the film is more than anything is a tale simply of shifting dynamics between people, and complications in our lives, at the intersections of love, family, social gatherings, and a very particular kind of work. ![]() In fact, Dascha Dauenhauer's quietly rich, pensive score, lending flavor to the mood of any moment, may be the one aspect to in any way dress up the proceedings. Like the picture's outlook on the profession, however, the romance is presented very baldly, with no build-up and no embellishment - and so it is with everything else about the feature, to be honest. ![]() And this is indeed just what we get, with drama to follow from the trajectory and complications thereof. From the outside looking in 'Glück' will be regarded first and foremost as a lesbian romance I readily admit it's that premise which first drew me in. It's important to note this not just because it's a welcome rarity in cinema, but also because it's the backdrop for the story to unfold. No romanticization or fetishization, no judgments or condescension, no frills, just a matter-of-fact depiction of the day to day business. It needs to be accentuated how wonderfully refreshing it is to see a movie that portrays sex work so frankly. The world of Bliss, the latest film from writer/director Mike Cahill (Another Earth), looks normal enough at first, even dull, a beige place dominated by dull office space. ![]()
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