Review of Cold War

Cold War (2018)
A special feeling
18 November 2020
Warning: Spoilers
Cold War is one of those "special" films that divide viewers in theaters and win over critics. It is shot in 4: 3, in black and white, in two European languages, and sometimes it is even framed "weird" on purpose to talk about emptiness. As a result, three Oscar nominations. Come on, maybe he didn't take anything because he ended up recording digitally.

It is not so clear, however, the division between the spectators. Or maybe yes. Although I am unhinged to hear it, I understand that time jumps are - speaking warmly - "rare." And they are. Almost as "rare" as Pawilkowsky's style. To understand this, it is necessary to study how two different techniques of making cinema coexist in the same film.

On the one hand, the aesthetic-technical formality of the frames, the study of thirds, the assembly of the gazes, the game of depth, etc. They are reminiscent of a much more academic cinema and classic titles - saving the distance - like The Seven Samurai. But, on the other hand, the episodic construction in time jumps suggests more contemporary titles - most of them, romances - such as La La Land or Your Name. They are two different threads that pull the story at different rates and pulses, which can cause tangles of perception and the occasional misleading. And, although it may not seem like it from the outside, in Cold War you can't afford to miss a moment of footage.

Cold War is undoubtedly a technical delight and an example of total direction, but what makes it special is its hybrid of styles. In addition, it is undeniable that it is a great step in the incursion of a cinema that, although perhaps not so commercial, is beginning to permeate in movie theaters and large festivals. Little by little, new topics of conversation flourish and styles begin to hybridize - see La Favorita: a modern romance in the 18th century - in an increasingly homogenized industry. And about this, there is no objection worth to be mentioned.
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