CiNEMERCATOR - Paul Thomas Anderson MAGNOLIA 1999
Filmlover,
4 cinephiles:
Merthe Voorhoeve, Andreas van Riet,
Maaike Hasselaar & Elisabeth van Vliet,
each are programming 1 precious film per month. That's 4 precious films per month!
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CiNEMERCATOR
doors open 19:30
start 20:00
ticket 3 Euro
nxt edition:
19-11
'What am I doing? I'm quietly judging you.'
Magnolia is an act of emotional excess that somehow becomes sincere through sheer conviction. Paul Thomas Anderson turns coincidence into choreography; lives spinning, intersecting, collapsing under weather that feels both literal and divine. Coming off Boogie Nights, he pushes himself into a denser, more wayward honesty: a mosaic of wounded people orbiting the same ache.
It is too long, too loud, too full- yet it earns its flood; he film moves like a storm that doesn’t ask permission. Grief, apology, confession, rain... What could have been indulgence becomes devotion to feeling, to risk, to the strange hope that chaos might still rhyme. If Boogie Nights was about momentum, Magnolia is about weight. Anderson pushes himself into a denser, more wayward honesty: a mosaic of wounded people orbiting the same ache. It drags its characters- and us- through every unspoken thing and when the sky finally breaks, it’s less revelation than relief: the world forgiving itself, just for a moment, for being unbearable. The cast becomes the film’s real weathersystem. Tom Cruise delivers perhaps his most vulnerable performance; a man built entirely out of armor, cracking from the inside out. Julianne Moore vibrates with the kind of sorrow that feels dangerous to touch. Philip Seymour Hoffman acts with disarming stillness, a quiet counterpoint to the film’s storms. John C. Reilly gives us a cop so earnest he feels almost mythic in his clumsiness and Jason Robards, in one of his final roles, brings death not as spectacle but as gravity.
This film is chosen by Maaike.
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