11/21/2023 0 Comments Trine dyrholm hotThe film never figures out what to do with him, but their relationship makes for its most memorable moment, as the mother wordlessly hands her son a wet cigarette that tastes of the hope and regret between them. That’s even true of Nico’s troubled son (Sandor Funtek), a drug-addled lovechild from her affair with Alain Delon. In fact, it flows best as an egotistic slipstream, the thin supporting characters only notable when they’re reduced to collateral damage. Thanks to the fleshed out messiness of Dyrholm’s performance, and how eerily the former Eurovision contestant brings Nico back to life whenever she sings, the movie is able to support the sketchiness of its approach. At the very least, there’s something to be said for a biopic that doesn’t feel a need to fill in the blank spaces of its subject’s Wikipedia page, or shape their defining moments into a clear trajectory (Nicchiarelli has fun mocking genre conventions, especially with an expository voiceover track that only speaks in the legalese of a custody hearing). There’s a deliberate opaqueness at work, as though Nicchiarelli believes it would be dishonest - or even disrespectful - to render Nico’s singular life in more comprehendible terms. “I’ve been on the top, I’ve been on the bottom - both places are empty.” “I really don’t care about music anymore,” she announces at one point. She refuses to look backwards, she gives herself no reason to look forwards, and heroin is the only thing that seems to keep her in the moment. Her singing voice is a hollow drone, and her speaking voice is inflected with an almost senile rudeness. Convincingly reanimated by the great Danish actress Trine Dyrholm, this Nico has bags under her eyes and bruises around the needle holes in her feet. ‘Lost Ladies’ Review: Kiran Rao’s Delightful Hindi Comedy Swings and WinsĪ defiantly anti-dramatic chronicle of the European tour that turned out to be Nico’s last, Nicchiarelli’s film is not the story of a woman who’s sad to be in her forties - if anything, it’s the story of a woman who’s so happy to be invisible that she’s done everything in her power to speed up the process. Lead vocals on there songs, some mindless tambourine shaking on the others, and a short lifetime of telling people not to call her “Lou Reed’s femme fatale.” Nobody even mentions that she was in “La Dolce Vita”! Several decades into a tortured and compelling solo career, and everything she does is still overshadowed by the one thing she did. The first 90 seconds of Susanna Nicchiarelli’s gloomy and grounded biopic visit all three of these periods (though the rest of it is almost exclusively set in the last one), “Nico, 1988” introducing its subject as someone who can’t extricate her present from her past. Twenty years after that, she sits in a Manchester radio station, patchy and strung out and shutting down any questions about her stint with The Velvet Underground - she’ll be dead in two years, but it looks as if she’s already decomposing. Twenty years later, she reappears as a blonde chanteuse in Andy Warhol’s New York City, her stage name attached to one of the most influential records in the history of popular music. Little Chenier was directed by actress and filmmaker Bethany Ashton Wolf, who co-wrote the screenplay with Jace Johnson, whose short story provided the basis for the story.A little girl stands on the outskirts of Berlin and watches from a distance as orange fire melts the city into a shapeless candied glow. Carl's father is the local sheriff, and when he's killed in the line of duty, his son takes his place it isn't long before Carl learns Mary-Louise has been having an affair with Beaux, and he uses his new authority to put Pemon behind bars on false change as a way of punishing his big brother. As it happens, Carl has reason to suspect Mary-Louise - she still stops by the Dupuis home occasionally to bring snacks for Pemon, and is sometimes tempted into infidelity by Beaux. Beaux used to love Mary-Louise (Tamara Braun), a dark-eyed beauty, but she's recently married local ne'er do well Carl Lebauve (Jeremy Davidson), who has a mean streak and a jealous nature. Beaux is a handsome and responsible man who supports his family by running a bait shop and looks after Pemon, who is mentally handicapped. Beaux Dupuis (Jonathan Schaech) lives on a houseboat with his brother Pemon (Fred Koehler) in the swamps of Cajun country. Two brothers are victimized by a weak and jealous man in this drama shot on location in Louisiana.
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