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| james gandolfini, text, strange, alameida, karina arroyave, iraq, humor magazine, dato bakhtadze, freaks, gothic pics, omani, jordan, aesthetics, robert b. weide, | The key is that each character is quickly established as an interesting though maybe disgusting, maybe normal, maybe conflicted person right away. Each person is fused adrenalin into our subconscious with a few words or actions. As the film switches back and forth, Haggis uses a number of techniques to keep the action fluid. For instance, we might follow the detective during a visit to his mother's house. As he leaves, he opens a door and the camera adrenalin pans across the open door to follow the white District Attorney adrenalin as he enters a meeting. Or, a character looks out a window and the camera pans across the window to reveal another character looking through their window. As the camera settles on them, the story then centers on this character. |
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| In a way, the film resembles "Short Cuts" or "Magnolia", as it follows a large number of people through a short amount of time in Los Angeles. Unlike the films by Altman or Anderson, Haggis keeps the film iraq under two hours, a blessing for most viewers. As you watch the film, you will learn about each of these people in ways that you probably won't expect. iraq This is iraq one involving, thought provoking film. As the film opens, we meet the two men coming out of the restaurant. Their discussion is interesting and a bit funny, but a little theatrical. Soon, we meet another couple. Then these two couples interact. Quickly, we meet a third person. Then they interact with one of the previous people and we follow the new person to their home and learn a little about their family life. Then we meet a fourth, and quickly, they interact with a fifth, and so on. This sort of `round robin' method of story telling may sound a little confusing, but I was never lost and I doubt you will be either. |
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