Author Topic: First Reformed  (Read 319 times)

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wilder

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First Reformed
« on: March 29, 2018, 03:38:54 PM »
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Reverend Ernst Toller (Hawke) is a solitary, middle-aged parish pastor at a small Dutch Reform church in upstate New York on the cusp of celebrating its 250th anniversary. Once a stop on the Underground Railroad, the church now is a tourist attraction catering to a dwindling congregation, eclipsed by its nearby parent church, Abundant Life, with its state-of-the-art facilities and 5,000-strong flock. When a pregnant parishioner (Amanda Seyfried) asks Toller to counsel her husband, a radical environmentalist, the clergyman finds himself plunged into his own tormented past, and equally despairing future, until he finds redemption in an act of grandiose violence.

Written and Directed by Paul Schrader
Starring Ethan Hawke and Amanda Seyfried
Release Date - May 18, 2018



jenkins

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Re: First Reformed
« Reply #1 on: March 29, 2018, 07:45:22 PM »
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i want to see it yeah

eward

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Re: First Reformed
« Reply #2 on: April 02, 2018, 12:12:04 PM »
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Classic Schrader material. His choices as of late have been fucking wild so I'm intrigued by this ostensible return to form.
"Do you laugh at jealousy?"

"No, I don't even laugh at seasickness! I happen to regard jealousy as the seasickness of passion."

samsong

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Re: First Reformed
« Reply #3 on: April 02, 2018, 06:51:06 PM »
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a buddy saw this at a festival and sung its praise.  said it's by far schrader's best and the best movie he saw last year.  looks like his version of diary of a country priest.  probably the film i'm looking forward to most.

samsong

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Re: First Reformed
« Reply #4 on: Today at 03:14:25 AM »
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powerful, admirably unhinged and unmitigated in its bleakness.  i'm not sure that this is actually transcendental so much as schrader aping the aesthetic that he literally wrote the book on, frenetically, lovingly, but also frivolously tipping his cap to the practitioners of said style, but not necessarily achieving what he purports is its purpose.  it plays like a tarantino film for the likes of bresson, bergman, dreyer, and tarkovsky (i really didn't see much ozu here).  so i found myself at odds with the forced asceticism, especially as the film moved towards where it ends up.  still, against today's standards and what cinema has become, this is as austere as one can reasonably expect, i guess.

this is a profoundly angry film, a damning study of christian/religious pathology and a death knell for humanity.  there's also this (skip to 03:16):



very good.  wanted to like this more.  i suspect i'm overly precious about the films and filmmakers that can be categorized as transcendental, and can't help but view this as somewhat slight by comparison.




 

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