Seen it twice now, might be my favourite movie of the past 5 years. Vicky Krieps was fantastic...

Seen it twice now, might be my favourite movie of the past 5 years. Vicky Krieps was fantastic, how did she not get an Oscar nomination?

What did everyone else think?

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nationalreview.com/article/454995/phantom-thread-downsizing-two-new-movies-mock-western-values
youtube.com/watch?v=Erwvh8h-DpY
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The only movie I like more than this is The Artist (2011). But Phantom Thread is in my top 10.
Too many lowbrow people won't get it.

It's definitely better the second time around and Krieps should have gotten Meryl Streep's nomination.

>how did she not get an Oscar nomination?

academy voters didn't get that she was the lead character because they need everything shoved in their face

Why was she so meh looking? Does he cast chinless women cause of his wife?

Why did the last shot look like he was trying to her eat butthole?

so they were diarrhea fetishists all along?

>boring, pretentious, overly long melodramatic flick

BRUH YOU JUST DONT UNDERSTAND IT

>The cynical view of human behavior shared by two new movies, Phantom Thread and Downsizing, was to be expected. They represent the culmination of a cultural change that began as the 1980s indie film movement shifted control of American film production away from the major studios to the entrepreneurship of individual (not necessarily “independent”) outsiders. Filmmakers who prided themselves on making alternative narratives, different from the Hollywood convention, rang eccentric variations on those traditions. They seemed to oppose the established orthodoxies — bringing in underrepresented ethnic and sexual subjects and, indeed, a strain of ruinous, unedifying sarcasm that distorted future audience expectations. Yet all those John Cassavetes, George Romero, and Akira Kurosawa name-droppers still wanted in on Hollywood’s social impact and money (i.e., politics). The sour mockery of human desire that occurs in both Phantom Thread and Downsizing is the result of that revolution.

>Paul Thomas Anderson’s fashion-industry setting in Phantom Thread seems to come from left field, delighting in the obscure rituals of haute couture before revealing that its real subject is human perversity as seen in a power struggle between the sexes. Anderson’s view is so sophomoric he doesn’t care whether you get the joke of his deliberately puckish character names: Reynolds Woodcock, a sought-after innovator of female couture, and Alma, his latest model discovery.

I liked it more than The Master. Builds on similar themes, but actually has a story this time
The more I think about it, the better it is. It's just a flawlessly shot movie. It's just below TWBB and Boogie Nights for me personally

>Vicky Krieps was fantastic, how did she not get an Oscar nomination
By California state law, Meryl Streep must be nominated at all times

You didn't get it, sorry user. It's okay, you make up most movie goers, take comfort you aren't in the minority.

>In this allegory, the masculine principle (portrayed by Daniel Day-Lewis) dominates the enigmatic soulful female, but eventually the roles switch and Woodcock becomes prey to Alma’s power (embodied by the unprepossessing Vicky Krieps, should rhyme with “creep”). This turnabout is a pure ’90s indie stunt. Anderson’s fancy cape-work has always impressed critics who are pledged to the superficially dark, perverse, and eccentric (Boogie Nights, There Will Be Blood, Punch-Drunk Love). This fascination is also sophomoric, based on a shallow misreading of film history in which Anderson’s variations on old Hollywood topics seem brilliantly new.

>At first, the inner sanctum that is The House of Woodcock, where the designer and his sister, officious, sexless Cyril (Lesley Manville), run their empire, recalls all those fancy-dressed fashion movies of the 1950s when Dior and Avedon were the rage. Dior and I, about Raf Simons heading the Dior label, revealed the division between creativity and labor. Unlike that recent captivating doc, Anderson glides through the semi-documentary introduction to a private world, keeping things weird with Jonny Greenwood’s deceptively placid piano score. (Not Art Tatum, it’s Kubrick jazz.)

>yandere overtaking Hollywood

I only realized she was french and not scottish about halfway through

>Phantom Thread is a revisionist genre film. Set in the 1950s, it not only reworks fashion flicks from Lucy Gallant to Funny Face (the complementary confluence of two industries) but perverts their female-objectifying iconography. Woodcock is a selfish womanizer (Day Lewis uses soft-spoken tyranny) who, despite his chauvinism, is filled with superstition about his late mother and hides personally reassuring messages in the seams (“You can sew anything into the canvas of a coat”). His creations are, in fact, hideous; the first we see looks like Disney’s Snow White gown, which might be a clue to the poison apple Anderson offers his audience.

>One under-criticized tenet of the indie movement is to invert Old Hollywood optimism, appealing to the adolescent thrall with nihilism. So Phantom Thread is the opposite of a fairy tale: Anderson’s satiny-velvety-70mm visual textures reveal repugnant behavior. The only effective moment of human vulnerability is used for comic relief, when Woodcock and Alma mercilessly undress a corpulent, middle-aged drunk who disgraces his green Margo Channing gown. Anderson touches on class issues when Woodcock detests Alma’s noisy eating habits and the hostess of a swanky party makes veiled, possibly anti-Jewish comments. In spite of Krieps’s swanlike neckline, ugly-duckling Alma’s vogue is short-lived; she becomes a creature of baroque feminist revenge.

Here’s where Anderson reveals the essence of his indie revisionist sarcasm. Phantom Thread is essentially a smart-ass retort to Alfred Hitchcock’s Vertigo (1958), repeating Hitchcock’s basic plot of a psychotic male making over a common girl (James Stewart selfishly “correcting” Kim Novak) into his erotic ideal. But Anderson denies viewers the complex pleasure of Kim Novak’s beauty-to-beauty transformation for something that’s even uglier morally — and does so with a self-satisfied sneer. Hitchcock’s film relayed a private tragedy that explored timeless anxieties; Anderson’s revision deliberately counters those conventions with a fascination for modern decadence.

>Well, Mr. Anderson, if that’s your indie definition of love — or cinema — I don’t want it.

Read more at: nationalreview.com/article/454995/phantom-thread-downsizing-two-new-movies-mock-western-values

I thought she was German desu

Go to bed, Armond.

based our guy, literally destroying wannabe film connoisseurs from reddit's PTA subreddit

I love this gay nigga but sometimes a film is more entertaining than its sophomoric perversity and nihilism.

FUCK OFF CONTRARIAN

FUCK OOOFFFF

Nah. She just found out ways to supplant his dependence on his sister and mother, and figured out how to conquer his manic episodes.

>His creations are, in fact, hideous; the first we see looks like Disney’s Snow White gown, which might be a clue to the poison apple Anderson offers his audience.

Oh God, I'm glad someone said this. Some of those dresses were really tacky.

Someone from /fa/ back me up here.

How does the film end again? I can't remember what happened after Alma has the baby stroller.

I found the initial purple one (on that random baroness or whatever) unimpressive, and the green dress for the fat chick was understandably plain. The rest I thought were great.

What? She is beautiful in the film, especially the way they would light her face in the close ups

Did anyone else think Alma was going to kill off the sister?

The wedding dress was perfect.

The one with the 16th century lace? Yes, I liked that one.

Alma's wedding dress was horrid.

It looked like Alma's wedding to Woodcock was spontaneous. If I recall correctly, she wasn't wearing one of his dresses it all. It certainly wasn't a wedding gown.

Vertigo is bad, though.

>The Artist is his favorite film of the decade
>Yet he acts like a pretentious piece of shit

He's not saying Vertigo is good, just that Phantom Thread is a shittier derivative

>The Artist (2011)

Did you just start watching films yesterday?

Oh the Master has a story. It's just really gross and unpleasant, so he left most of it up to your imagination. But they probably fuck, several times. The rocket fuel is a metaphor for drinking each others jizz. And the "riding" the motorcyle. Yeah.


I'm pretty sure Phantom Thread is about eating shit.

For the "hungry boy"

>the artist
>an abomination and an affront to silent films yet feeding off of the manufactured nostalgia of people who've never actually watched silent films

>The rocket fuel is a metaphor for drinking each others jizz
user you're a retarded faggot

>poison mushrooms
>mushrooms grow in shit
>"confirmed bachelor"
>german girlfriend

theory checks out.

>that scene where he hallucinates and talks to his mother

damn, what a great scene. DDL is incredible.

youtube.com/watch?v=Erwvh8h-DpY

the score is beautiful too