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“A portrait of a closeted lesbian woman living in England during Margaret Thatcher’s oppressively homophobic 1980s reign, Georgia Oakley’s Blue Jean illustrates a unique paradox for a critic. How does one navigate criticizing a film’s self-imposed binaries while also accounting for the realities of a restrictive period, the gravity of the subject matter (and parallel current circumstances), and the differentiation of what is intended as cinematic affect and what constitutes clumsy filmmaking?
Here's how I contextualized this conversation in the description of the episode:
"Coming off a disparate and largely consistent run of projects (including most recently, the stubbornly low-key backstage musical/relationship drama, Magic Mike’s Last Dance), Soderbergh was and remains an unpredictable filmmaker who’s as likely to knock out a four-quadrant-blockbuster as an obtusely rendered conspiracy thriller throwback like Kimi.
Today’s conversation touches on Soderbergh’s ongoing fluency switching between different…
Extremely awkward at times, but there’s an appealing fizziness here to both the kaleidoscopic fantasy aesthetic and the matter-of-fact absurdity to its established dystopia. I was mostly with this until Corrin’s late nauseatingly groan-worthy reveal about her motivations. Either way, it’s nice to see Galatizine’s charm weaponized for a scumbag cuckold character instead of as a doe-eyed hunk. I’ll keep an eye on this director.
Way more charming than it has any right to be for a brand extension exercise. The comedy parts are somehow more successful than the musical parts, especially an incredibly dumb, infectious scene where Nick Jonas and Andrew Barth Feldman fight for the spotlight while singing a fake song from a Home Alone musical. Someone should give him another comedy after No Hard Feelings.
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