The weekly take: Recognized or forgotten by Oscar nominations

Weekly film reviews and recommendations!
Graphic by Keven Vaillancourt and Léa Galarneau / The Concordian

In this new Arts & Culture column, we’ll be reviewing and rating films weekly, covering various themes and genres. With the new year and plenty of new releases, this week’s theme highlights Academy Award-nominated and snubbed films that you can find in nearby theatres.

The Brutalist (2024)
By Kailee Krentz
Copy Editor

Overwhelmed by this three-hour-and-35-minute film, the audience is left with an enduring feeling of beauty and emotion. The Brutalist tells the heart-wrenching tale of László Tóth (Adrien Brody) and his journey from post-war Europe to America as a Jewish Hungarian. Through struggles of abuse, addiction, poverty, and prejudice (to only name a few), László finds happiness in the mundane, shot in VistaVision and 35 mm film, which allows the images to thrive in colour and clarity.

The film is divided into three parts — Part 1: The Enigma of Arrival, Part 2: The Hardcore of Beauty, and the Epilogue: The First Architecture Biennale — which allows for complete emotional transparency.

The film cannot be done justice in simple words. The audience experiences hardship and success, never knowing whether the next moment will be happy or sad. The music plays a role in this, as even during moments of bliss, ominous tunes play, leading the audience to suspect that the protagonist’s journey will encounter a fault shortly. This film is meant to be experienced in theatres with the images and sounds strikingly presented in front of you. 

Rating: 4.5/5

The Last Show Girl (2024)

By Ferdaous Amrati
Contributor

Pamela Anderson returns with The Last Showgirl. Inspired by the Jubilee! spectacle, director Gia Coppola captures the poignant unraveling of a glamorous dancer and her raison d’être. The film follows Shelly, a once-iconic dancer at “Le Razzle Dazzle,” as the closure of her beloved revue marks the end of her three-decade career and the start of a quest for a new purpose. Coppola’s use of 16 mm film evokes nostalgia, beautifully portraying the fading glamour of cabaret in Sin City. 

Through archival costumes, the film honours the once-shining art of cabaret, paying tribute to the tradition of Lido de Paris. Beneath the glittering facade, it reveals not only the unglamorous side of the industry but also the feminine pain of aging in an unforgiving world. Anderson delivers an emotional portrayal of a woman alienated by an industry that no longer values her artistry. Ultimately, this movie is both a love letter to cabaret and a lament for society. 

Rating: 4/5

Anora (2024)

By Tess Bechet
Contributor

Sean Baker’s Anora presents itself as a comedy, with moments that will have you laughing out loud. Yet beneath this comedic surface is a layer of tragedy, subtly conveyed through the brilliant performances of Mikey Madison and Mark Eydelshteyn. 

The story follows a young sex worker from Brooklyn who is swept off her feet by the son of a wealthy Russian oligarch. During a steamy and exciting trip to Vegas, the two get married as an act of rebellion. But when the news reaches Russia, they are forced to annul the marriage, and Anora’s Cinderella dream gets shattered along the way. 

This is a film about control in all its forms. The power imbalance between a wealthy son and a struggling stripper is exceptionally explored, shown when Anora’s witty and “bad-a**” persona slowly washes off as she realizes how little agency she has in her own life. It is an absolute must-see this year. 

Rating: 4/5

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