Everything in its Right Place

Tarentino Dialogue Can you believe this film is 10 years old? I don't know why but out of all of Tarentino's films this is the one that I think about most, the one I tend to revisit and the one which I think is the only serious challenger to Reservoir Dogs as Tarentino's finest work (I'm glad the Once Upon a Time In Hollywood hysteria has died down finally). When discussing Quentin Tarentino himself of course, it’s probably best not to mention anything visual. The chances are, you’d be complimenting some B-movie director from 60’s Hollywood or an obscure exploitation film. His films are bathed in intertextuality, magpieing anything that he remembers or looks good from the thousands of films he’s seen. But the dialogue… that’s where Tarentino comes to life. It is often in the deliberateness of evasion that his films tend to get you hooked, as well as the flow of the words. Think of the classic example in  Pulp Fiction  where Vincent and Jules turn ...

Revowooftion It seems the more festival films that I watch the more transparent their mechanics become - be visually exciting, re-appropriate national specificity so it’s easily translatable to a global audience and always, always, cast a child/teenager as the main character. White God  (2014) is a Hungarian film directed by  Kornél Mundruczó  which follows Lili (a young teenager) and her dog Hagen. The film delivers a dualistic narrative after Hagen is cast away by Lilis father Daniel, jumping between the despair and viciousness Hagen encounters on the streets, and Lilis search for him, as well as other aspects of her life.               Hagen and all the other dogs throughout the film are treated with utter malevolence, and certain language used in the opening half hour, such as comparisons to monsters and the accusation “half-breeds [dogs] have to pay tax”, leads one to instantly assume the...