Fresh with master shots, sly camera movements and clever inserts of nostalgic items such as record players flush with witty conversations on the meaning of life, sex and relationships, Peter Glanz‘s The Longest Week wears its influences on its sleeve – Wes Anderson and Woody Allen are everywhere in this film. The economic status of the characters could easily lead us to the New York comedies of Whit Stillman (Metropolitan in particular – the Jane Austen chatter alone pushes this). With all that cinematic genius being channeled, as the title of this article asks, is this a good thing? Maybe, maybe not. Read More →
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