Under The Silver Lake

Un film-noir moderne et plaisant qui joue subversivement avec le spectateur en le laissant s’efforcer de déchiffrer des messages possiblement indéchiffrables. Avec talent, David Robert Mitchell raconte une odyssée truffée de références à la culture populaire menant à une impasse. En même temps, il cite abondamment Alfred Hitchcock dans de nombreuses scènes et remplit le milieu énigmatique de Los Angeles par quantité de personnages bizarres. Convaincant, Andrew Garfield se débrouille habilement malgré la difficulté de l’intrigue. En ce qui me concerne, j’aurais volontiers assisté à une heure supplémentaire de l’aventure enjouée de M. Mitchell. [Sitges 2018] (22/10/2018)

On erre sans fin dans les rues de LA, des gens se rencontrent et des choses bizarres se passent, mais le tout ne s’assemble pas de façon intéressante et on tourne en rond. L’ambiance est sympa avec un côté noir et des références à Hitchcock et Lynch, sans parler des filles sexy, notamment la femme fatale principale qui fait tourner la tête à Garfield. Mais au niveau du scénario, le film ne tient pas la route, se veut intellectuel avec son inclinaison néo-noir rehaussée de pop culture et, pire, débouche sur un final à la noix que le spectateur aurait pourtant souhaité salvateur. La BO (pop culture) est bien. [Cannes] (17/05/2018)

Comparing the atmosphere of this film with David Lynch is a bit off the mark. The movie is actually not as strange as it looks at first glance. It’s rather a wannabe thriller with noir elements where people behave in strange ways mainly because they are simply weird. Andrew Garfield plays probably the weirdest role in his entire career and it would probably be better if he didn’t have it in his portfolio. For over two hours, something is going on that portrays the human vanity in Hollywood and it does so in such an inconspicuous manner that I don’t think the locals will understand that the movie is referring to them. The entire time, I was waiting for something a bit more meaningful to come out of it, but the good-for-nothing ending cut that off and essentially confirmed what this movie is about. It’s actually about nothing at all. (29/01/2019)

This neo-noir mashup will most probably anger even more people than The Image Book (because more moviegoers will go to the cinema to see it because of Garfield). Rather than creating something original, both films are based on recontextualising earlier media content and seeking hidden meanings in pop culture, which represents the basic frame of reference in Under the Silver Lake. Everything refers to something that someone else invented in the past. There are no originals, only copies and rewrites. Therefore, the story has to be set in Los Angeles, a city that has played a role in so many films that it has become a remake of itself. Mitchell’s third film holds together thanks to its absorbing atmosphere at the boundary between Vertigo and Chinatown and its pseudo-detective plot. It unfolds in such absurd, totally Lynchian mindfuck ways that instead of providing satisfaction from the uncovering of new contexts, it brings only gradually deepened frustration. Both for us and for the main protagonist, a paranoid slacker like from a nineties indie film, it almost involves two and a half hours of a delayed climax (the only satisfying interaction takes place during the prologue). Throughout its runtime, it is also immensely entertaining, while being a deferential and cunning pastiche of classic and post-classic noir films (and the music from such films), most of whose “shortcomings” can be interpreted as conscious and ironic work with certain conventions and stereotypes. For example, we can understand the reduction of the female characters to more or less passive objects as a critique of the “male gaze”, as that is precisely how the mentally immature protagonist, whose perspective the film thoroughly adheres to throughout, perceives women based on their media representation in films by Hitchcock and others. Under the Silver Lake is an ambivalent postmodern work which, thanks to its lack of a centre and its solid structure, succeeds in expressing the confusion of young people who try in vain to find some sort of higher meaning in all of the stories obscuring their view of reality. For me, it was one of the most entertaining movies of the year, but there is roughly equal probability that you will hate it with all your heart. 85% (03/12/2018)

Hobo´s ///. Mulholland Drive 2018 or WTF³, which will for couple of decades stimulate discussions, analyzes of God knows what including slow-motion sound recordings of a neighbor's parrot played backwards. But in contrast to similar self-serving onanist mindfuck's elusive super weirdness, this one has an insurmountable advantage that puts it alongside the aforementioned best lynch or Donnie Darko. It works on its own, without any effort on the part of the viewer to discover the encrypted meaning of the universe, purely as a hypnotically captivating expedition into the depths of fantasy madness / raised middle finger to all (everything). If you still wanted to know what the hell it's all about, I'd probably tell you “(im) perfection + pothead comedy + paranoid schizophrenia + Henry: Portrait of a murderer = a tribute to classic Hollywood and noir", but much (really much) more apt would be just to bark ... I mean woof, woof! (05/10/2018)