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Hannah Eliot


About Me

Hannah is a junior at Scripps College, majoring in English and Media Studies. In her free time, she loves to surf, read, and drag her friends to watch obscure films with her.

I would say that this is probably one of my favorite films of all time, if not my favorite. The cinematography is stunning, and the acting is some of the best I’ve seen. Cuarón’s organic process of filmmaking allows him to construct complex characters who are shaped by both personal and national identity. In doing so, he gives his viewer a realistic lens into a moment of sociopolitical tension in Mexican history.
Both heartwarming and heartbreaking, and also one of the most immersive I’ve ever seen. This film is not afraid to show the ragged edges that come with that liberating feeling of being young. It doesn’t shy away from baring the ugly side of youth, of running toward an uncertain future only to find that it is no better than where you came from.
This is a Noé film, so it's obviously disturbing, but still much easier to digest than "Irreversible," for example. Noé never loosens his grip on the viewer's attention or the tension, and he beautifully blends his own craft with a terrifying sense of freedom, allowing for a very naturalistic and human film.
What makes this film genuinely great is how none of the life-altering, awful decisions that Julie makes feel life-altering in the moment. Sometimes, they don’t even feel like the worst decisions she could make. That's because nothing in this film feels black and white. Julie often follows the direction that feels the most fulfilling in the moment, but not the most logical, seemingly implying that this is what life is about — not living for the future or for the past, but simply doing what you need to do in the present moment.
This film is the greatest example of how Almódovar likes to create this liminal space between life and death in his films, often to explore subjects like intergenerational trauma. He does it so gently and earnestly, too, that it feels uniquely moving.
The characters in "Chungking Express" don’t seem to know who they are. They wander around as loose individuals without families or homes, struggling with heartbreak and desperate for lovers they can never have. All in all, this film is ridiculously beautiful, haunting and surprisingly funny. It's one of my all-time favorites.
I almost can't believe this film was made -- in the best way. Nowadays, it's so rare to see a blockbuster that is so off-the-rails in its creative approach. It just shows how incredible the human imagination can be.
Films on motherhood are holy ground for Almódovar. They are a space in which he has honed his craft and produced some of his most touching work, which shows in the realism and depth of emotion in this film. Generally, it is also far more toned down and sober than most of his work. However, I still think it lacks the completeness of "Pain and Glory."
This is such a calming, beautiful film. The kind of movie that will only get better on each rewatch. All the actors did such an incredible job here, especially the two kids. This film did drag on a bit for me at the end, but never at the expense of its imagery, which is gorgeous.
This is a quietly beautiful coming-of-age film that is so much more than just a Turkish "The Virgin Suicides." I actually identified far more with Lale and her sisters than with Coppola's Lisbon sisters, even though they belonged to a distinctly foreign culture. The chemistry between them felt so genuine and natural, making their confinement that much more heart wrenching.