I must say Mrs Lemire is soo consistent as to the her commitment to actually viewing the films the channel actually makes the time to review...she's rarely the team member who shows up to class unprepaired for discussion. Alonso looking sternly in your general direction haha
Sounds intriguing AND since I already pay for Netflix (and deeply trust Christy and Alonzo...I trust Matt also but he did not see this movie) I am going to check out Atlantics. With Netflix's new algorithm all I have to do is watch for 2 minutes right? Being a conspiracy enthusiast, I am guessing that this change resulted from a Netflix exec trying to rationalize the contract (and some of its debatable results) with Adam Sandler and the Bright (2017) movie (maybe series?).
I watched the movie and till this day still don't understand its direction. It's multi-genre in one. To be honest, the storyline seems directionless. it was also seriously draggy at the beginning. But Kudos to them on the effort and the Cannes achievement. It won the Grand Prix.
Can a story about ghosts who possess people told through the aesthetics and pacing of a slice-of-life drama work? Sure. In fact, I usually admire movies that tell a story in a different genre than what we're used to seeing. However, you have to keep the number of characters and subplots as low as possible, in order for everything to feel like it belongs in the same movie. The number in _ATLANTIQUE_ (ATLANTICS) is a little too high. Whenever we transition from the ghosts going after a tycoon to ADA (the protagonist) pondering about her future and her place in society, it feels more jarring than seeing a Senegalese eating thiébou without adding dienne, yapp, guinar or guerté. Why not write the story in a way that all of the ghosts' problems (not just her lover SOULEIMAN's) connect to her? Why not write her as the detective assigned to the case (instead of ISSA) and still have her go through an arranged marriage? Why not write her fiancée as the tycoon? I know I know, I should judge a movie based on what it is rather than what it's not. Honestly, I might give these issues a pass if the overall presentation was good enough. Mati Diop's directing, Diop and Olivier Demangel's script, Claire Mathon's cinematography and Aël Dallier Vega's editing aren't bad at all, but there's nothing special about them. The performances are merely passable and the characters are uninteresting. 5/10
I agree with you. I had to fast-forward those draggy scenes, especially when Suleiman and the other construction workers were riding on the pickup vehicle.back home. That was real punishment. The movie has no direction TBH.
Another excellent flick that will potentially be lost in the abyss of my Netflix queue.
Christy:8
Alonso:8
Diop is pronounced Jope. Notice how the main character called her friend Dior in the film Jore.
I must say Mrs Lemire is soo consistent as to the her commitment to actually viewing the films the channel actually makes the time to review...she's rarely the team member who shows up to class unprepaired for discussion. Alonso looking sternly in your general direction haha
I love how Matt just let's the dog out during the podcast! 😃
Sounds intriguing AND since I already pay for Netflix (and deeply trust Christy and Alonzo...I trust Matt also but he did not see this movie) I am going to check out Atlantics. With Netflix's new algorithm all I have to do is watch for 2 minutes right? Being a conspiracy enthusiast, I am guessing that this change resulted from a Netflix exec trying to rationalize the contract (and some of its debatable results) with Adam Sandler and the Bright (2017) movie (maybe series?).
I watched the movie and till this day still don't understand its direction. It's multi-genre in one. To be honest, the storyline seems directionless. it was also seriously draggy at the beginning. But Kudos to them on the effort and the Cannes achievement. It won the Grand Prix.
I liked the movie, but the all that police investigation plot and characters were disappointing and senseless
Review night of the kings plz
Can a story about ghosts who possess people told through the aesthetics and pacing of a slice-of-life drama work? Sure. In fact, I usually admire movies that tell a story in a different genre than what we're used to seeing. However, you have to keep the number of characters and subplots as low as possible, in order for everything to feel like it belongs in the same movie. The number in _ATLANTIQUE_ (ATLANTICS) is a little too high. Whenever we transition from the ghosts going after a tycoon to ADA (the protagonist) pondering about her future and her place in society, it feels more jarring than seeing a Senegalese eating thiébou without adding dienne, yapp, guinar or guerté. Why not write the story in a way that all of the ghosts' problems (not just her lover SOULEIMAN's) connect to her? Why not write her as the detective assigned to the case (instead of ISSA) and still have her go through an arranged marriage? Why not write her fiancée as the tycoon? I know I know, I should judge a movie based on what it is rather than what it's not. Honestly, I might give these issues a pass if the overall presentation was good enough. Mati Diop's directing, Diop and Olivier Demangel's script, Claire Mathon's cinematography and Aël Dallier Vega's editing aren't bad at all, but there's nothing special about them. The performances are merely passable and the characters are uninteresting.
5/10
Over rated film
I found it too slow-paced to keep my interest. It's a no for me.
I agree with you. I had to fast-forward those draggy scenes, especially when Suleiman and the other construction workers were riding on the pickup vehicle.back home. That was real punishment. The movie has no direction TBH.