While the idea of the last man on Earth isn’t revolutionary, Ulrich Köhler’s film In My Room approaches the idea from a long-game perspective. The opening of the film is visually jarring. In hindsight, this is a fantastic set up for our leading man and a plot in which the world’s population vanishes overnight. This introduction is subtle at first. If you were to go into the film unaware of the plot, you may miss the first signs. The film’s emotional journey is all over the place. Panic sets in, and then, very quickly, it transitions to a “fuck it” attitude. Hans Löw‘s physical transformation, from beginning to end, is startling. As is his intellectual prowess. Without an electronic grid, one would have to adapt quickly to survive. In My Room pushes you to think about the effects of a cataclysmic event. In the film, Armin has a system. It is one he strives to improve upon daily, without losing his mind. I’d love to report an uplifting ending, alas I cannot. Without going into detail, you’re left to root for a man that could easily be you. In My Room goes to dark places and sits there. Then makes you sit there. In doing so, it is an incredibly effective film.
Directed by: Ulrich Köhler
Germany / 2018 / 119 minutes / NR
Writer/Director Mike Mills knows women. He appreciates the ins and outs, the nuances of age and stage and the humor in everyday life. Annette Bening asks one of her tenants Abbie, and son’s high school aged best friend, Julie to teach him how to be a food man. Since his father is out of the picture and mother Dorothea has trouble keeping an age appropriate man around for long, she had enlisted help. thankfully she has been thus far successful in raising an open-minded and perfectly curious boy. His inspiration for exploring the world is only enhanced by the eclectic females he is surrounded by. The film is funny and sweet. It’s a bit if a time capsule and yet somehow remains timeless in the theme of self discovery. The transitions are like colorful music videos mixed with punk music from Talking Heads and Black Flag.
After seeing Stewart and Assayas team up on the NYFF52 film Clouds of Sils Maria, there was doubt that we were in for a unique treat in Personal Shopper. Some might still be skeptical of Stewart’s work if they’ve only been exposed to The Twilight franchise. She admits that it most definitely gave her the option to choose her work. Her indie film roles are nothing short of impressive. Clouds allowed her to be the first American actress to win France’s most prominent Cesar award. Stewart plays Maureen, dealing or not dealing with the death of her twin brother, she floats through life by attending to a spoiled supermodel’s fashion needs all while suspecting her brother is trying to contact her from the beyond. Caught between her own sanity and a murder mystery, Stewart bares all in an emotionally wrought and frightening tale that makes us ponder our own beliefs and life choices. With some of the world’s most beautiful fashion as eye candy, Paris and London as our backgrounds, and the trust Assayas has with his leading lady, I was constantly on edge and intrigued. The pace is great and the use of texting as a major plot point brings technology to the forefront in more than one way. Assasya’ long lingering shots, he admitted in the press conference following the screening, were half by choice and half due to the performance Stewart was giving at any moment in time. Their relationship is very clear as you watch. She is in almost every frame. that is a lot to carry as a young actress, but she 100% owns this film. I was able to ask both Assayas and Stewart if they believed in the paranormal and their answers were perfection. you can watch the footage below. If eerie movies are your thing, then this is most likely one you’re enjoy. If you want to see a gorgeously shot film with a stellar leading lady, this too fits the bill. If you’re open minded about things that are considered other worldly, if nothing else, Personal Shopper begs the question, “Is death the end?”
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