Posted in: by Robert Horton, Contributors, Film Reviews

Review: Disorder

Matthias Schoenaerts in 'Disorder'
Matthias Schoenaerts in ‘Disorder’

For many years I have suffered from tinnitus, which is a great Edgar Allan Poe-ish word for “ringing in the ears.” (I know now we’re supposed to say we “live with” conditions and syndromes, but I suffer from mine, thanks anyway.) Having tinnitus creates an unreal soundscape; for me, along with various pulses and crackles, I often think I hear conversations or music happening somewhere. Or maybe there are conversations and music happening—who can tell, with all the noise going on?

In Alice Winocour’s Disorder, the protagonist Vincent suffers (really suffers) from much more than just tinnitus. This military veteran has PTSD and hearing loss, and his shaky nerves make it unlikely he’ll see active duty again. One thing that drew me into Winocour’s odd film is the sonic depiction of how Vincent hears the world: The soundtrack hums with high-frequency whirring and insectoid buzz, which is all the more maddening to Vincent because he often has to pay close attention to dangers that might be approaching.

Continue reading at Seattle Weekly

Posted in: by Robert Horton, Contributors, Film Reviews

Film Review: ‘Far From the Madding Crowd’

Carey Mulligan

Along with a great novelist’s assumed ability to peer into the human soul and all that, Thomas Hardy added two key obsessions: land and time. Hardy knew the soil of his English countryside, knew the trees and animals, and the way a footpath connects farms and destinies. He also knew how the turning of the seasons affected people, and how those same footpaths resonated with the steps of ancestors near and distant.

Thomas Vinterberg’s new version of Far From the Madding Crowd gets just about all of that wrong. And immediately, too: The film throws away the great moment when Bathsheba Everdene (Carey Mulligan)—having assured herself that no one could be watching—leans back on her horse in an unladylike manner, a gesture surreptitiously witnessed by salt-of-the-earth farmer Gabriel Oak (Belgian rising star Matthias Schoenaerts). If a movie can’t understand how that gesture shapes the futures of these characters, it won’t get much else right.

Continue reading at Seattle Weekly