To compare the look of Carolina Cavalli' Amanda to Wes Anderson's films, with their symmetrical tableaux and deadpan comedy, is correct, but Anderson wouldn't be so partial to things being so out of focus. But this is well-suited to the story of the eponymous, anti-social young woman who finally finds (or wrangles) a friendship (with a shut-in) and starts to COME into focus, or who, in her lowest moments, fails to find that focus. A portrait of two borderline personalities trying to get their lives on track, even if that track isn't the one everyone else takes. Interestingly shot. Replete with a matter-of-fact irony that makes it sardonically funny. But the moments are grace I want from it are, if not completely lacking, at least rare. But that kind of sentimentality really wouldn't be proper. And so, we can find these usually obnoxious characters amusing and perhaps poignant, but they don't want you to think of them as touching. Being true to itself, it keeps us at a certain distance.
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Siskoid
To compare the look of Carolina Cavalli' Amanda to Wes Anderson's films, with their symmetrical tableaux and deadpan comedy, is correct, but Anderson wouldn't be so partial to things being so out of focus. But this is well-suited to the story of the eponymous, anti-social young woman who finally finds (or wrangles) a friendship (with a shut-in) and starts to COME into focus, or who, in her lowest moments, fails to find that focus. A portrait of two borderline personalities trying to get their lives on track, even if that track isn't the one everyone else takes. Interestingly shot. Replete with a matter-of-fact irony that makes it sardonically funny. But the moments are grace I want from it are, if not completely lacking, at least rare. But that kind of sentimentality really wouldn't be proper. And so, we can find these usually obnoxious characters amusing and perhaps poignant, but they don't want you to think of them as touching. Being true to itself, it keeps us at a certain distance.