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By Thomas Puhr
Daniel Day-Lewis gives a quietly intense and vulnerable
performance as Reynolds Woodcock, an obsessive fashion designer, in what will be his final film. There is much to admire here, from the sumptuous
costume design, to a hedonistic, almost surreal New Year’s Eve party, to some
beautiful footage of Woodcock’s reckless nighttime drives (Anderson is the uncredited director of photography). The film’s second half, detailing
the protagonist’s unconventional relationship with his muse/wife, Alma (Vicky
Krieps), is its most engaging, especially when the writer-director dips
ever-so-slightly into supernatural territory. Ultimately, like its central character, Phantom Thread remains aesthetically fascinating
but emotionally remote.
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