Columbus

It felt like something was missing that was supposed to make it an engaging film. [Full review]

establishing shot porn, a.k.a. Ozu in 2017 meets Linklater

a little too low-key for me. I liked how they captured the sense of these spaces, but the flipside is that it seemed like the whole town was inhabited by only these 5 people.

This movie made me feel even more isolated in Western Australia.

Couldn't finish, I was too bored. I wasn't drawn in and didn't care about the characters. I know the static shots are on purpose but was just detaching me from the film all together. What's that about attention spans and perspectives? :P

Görsel olarak etkileyici olsa da film Kogonada'nın eski kısa filmleri gibi fazlasıyla akademik bir essay izlenimi veriyor. Bu da uzun metraj filmde özellikle ikinci yarıda boğucu bir izleme deneyimi yaratıyor, yönetmenin hikaye, diyalog ve karakter gelişimini önemsemeyip tamamen mimari bilgisi ve görsellikle sizi sürekli etkilemeye çalıştığını hissetmek seyirciyi bir noktada filmin dışına itiyor. Modern mimari konseptinin de filmin anlatısına yarardan çok zarar verdiği

Lovely movie with great cinematography and wonderful characters portrayed beautifully. If it had a little more substance it could have been an all-timer, but that’s okay!

shots from this could be compressed to a 15 minute short or maybe a one lingeringly long soundless art piece, either way would be better than this

okay movie

There's a moment early in this film where one character asks another why something moves them. Kogonada frames the response purely as a visual, the words drowned out by music. This moment illustrates both what I love about the film and what I think it lacks. I love the visual sensibility (how about that shout out to Red Beard!), the willingness to tell through images. But the film struggles in its writing, an inability to have an organic interaction between people and places.

What a beautifully shot movie. I didn't like so much the dialogues as they were too 'subtle' or at times trying too hard. However the movie is Zen and I like it.

"That's not subtle." A movie I could go for in theory, with its sleepy pacing, its fascination with people in spaces, dancing around their feelings with conversations about art. In practice it's a poor man's Museum Hours; for every lovely stretch there's a cute/sentimental indie beat, self-congratulatory meta-dialogue, studied yet purposeless direction choices. The kind of Ozu-lite film-school overreaching you'd expect from a guy who pompously, sacrilegiously shuns capital letters.

A small-scale, clinical film where in the minimum of characters, time and fuss, we get deep into two peoples' lives and explore their parallel feelings of loneliness, expectation, powerlessness and guilt. The pair's situations are explored touchingly, they are instantly understandable and we can see exactly what they need to do but aren't yet able to. The amount of emotional content in this film is well-judged. It strikes the right balance, just like a zen garden or perfectly designed building.

Kogonada insists on building beautiful frames instead of real dramas, but the actors somehow breathe outside his rigid, near oppressive, too controlling compositions.

Is definitely like an Ozu movie in the way it transitions and establishes shots, but I don't think it's as good as the Ozu movies I've seen. It looks really good, I like the appreciation for architecture in it, but I was having a really hard time getting invested in these people. Some of the stuff they'd say came off as trying too hard, but there were some interesting conversations and it did get better as it went on... but it was too late at that point. A big of a slog.

This is an earnest, studied apologetics for formalism. What is explained over and again in the dialogue translates to something like zen-modernism, and sounds like what I believe in. I think Kogonada could benefit once he loses such an urgent feeling that things must be explained.

interest - dikkat süresi yetinen bi karakter: yaşadığı sakin yerden mutlu, sade çorba, kütüphaneci olmak gayet iyi bir gelecek... ama bunlar gerçek hayalleri değilde kabullendikleri çünkü önceliğe kendi hayallerini koyamamış o vakte kadar Modernizm of soul Babasının iyileşmesini istemiyor X annesi iyileştiği için onun için burda kalıyor (ben sanırım birinciyim; babası ona gereken ilgiyi gösterememişken ölüme yaklaşmışken... gerek yok)

A decent but very slow film that’s mostly architectural scenes and quiet deep conversation between two very conflicted individuals drawn to each other…

God this is boring!

#22#, rw4, liked, Haley.LR!, oldies(2) }*{ #17#, exp3, rw4, story, ratings, cast.

Not sure how I feel about this. Lots of chat about building exterior concept and interior scenes with uncomfortable people. If it's comparing the cold shallowness of popular architecture with human relationships then it did quite well but I'm not sure that's what it's actually going for.

It's slow and deliberate. The cinematography is excellent, with subtle, heartfelt performances. It's a different kind of coming of age story, a more mature and realistic one.

While the stories about personal relationships don't do a lot for me here, I do appreciate the way in which Kogonada has at least partially succeeded in making a film that is not only about place (Columbus as a time and space) but about space in an abstract (but still necessarily material) and intellectual sense (i.e. architecture). It's when he succumbs to pretensions that the film falters most badly.

Gorgeous, human, well-acted, ploddingly paced. Has all the workable pieces of something profound, but ultimately the film just -- does nothing. Dull where it's supposed to sparkle and shine.

This is what humans make human.

And the story never comes together. He needed to be called out more on his arrogance. And did I miss something in the second act or why did we jump to the made decision so quickly.

They sure do talk a lot in Columbus

A wonderful character study on choosing to be interested in things that matter and choosing to not be so interested in things that don't matter. Gorgeous cinematography, quiet, and real.

This film sets a new standard for Cinematography. Really, just...staggeringly impressive. Every moment of every scene is framed perfectly. Haley Lu Richardson is spectacular. Her and John Cho have such amazing chemistry. Yes it has a slow deliberate pace, but it's so realistic in a very accessible way. Kogonada's sense of character is completely and unequivocally realized. I know I'm probably already sounding hyperbolic, but the fact that this is his first film is nothing short of astonishing.

A captivating, melancholy journey filled with static shots, beautiful ambience, and architecture, following a very indie, poetic, and resonating story of two vaguely-lost souls becoming a little bit less so. Lovely acting and understated character interactions that do just enough, and the script does not rely on overly satisfying the audience to reach moments of fulfillment and subtle evolution for the imperfect but endearing main characters.

I feel like watching this every day

Sedate, pensive drama resembles an even more laid-back (even sleepy) reworking of LOST IN TRANSLATION, however Cho and Richardson's magnetic, charismatic performances, and Kogonada's striking architectural images, keep things lively, along with the fascinating, loose discussions between our heroes relating to the value of art and architecture; Culkin also has some nice scenes as Richardson's lovestruck colleague.

(Rewatch: this film grew on me as did the architecture. Some shots lingered a bit too long. The cast is simply strong. I'd have preferred a romantic pairing, but there is a deep relationship here. During the commentary they joked about a 10-year reunion a la Before Sunset. Do it please.) A slow dialogue driven film with seemingly the only 2 people around in the entire area. Beautiful backgrounds. A bit disappointed the romance wasn't developed more. Fav scene: covered bridge disagreement.

Very nice-looking and relaxing film. The girl's naive stupidity combines pretty well with the man's brutal honesty.

27 November 2018

Her story is more satisfying, but very good overall. Watch again for some of the shots

Bienal gibi film.

A deeply tender examination of the fear of change and the complications of love that contrasts the organic imperfection of its characters with the architectural backdrop of inorganic perfection. Musings on loneliness and existence call to mind a Linklaterian narrative with the pristine, clinical, and outright beautiful cinematography seemingly a hybrid of Ozu and Weerasethakul.

kogonada, çarpıcı çerçeveler yakalarken anlatıyı öncelikle görselde kuruyor. filmin temposu ve müziklerse buna destek çıktığı kadar, yapıların anlatıya parça edildiği görsel estetikle beraber huzur verici bir zamansallık yakalıyor. diyalogların fazla özensiz çınladığı anlar birkaç seferden fazlaya denk düşse de genel hissiyatı ve onun arkasındaki dengeyle çok iyi bir ilk film olarak beliriyor.

Gorgeously shot and nicely acted - this is a lovely little film that feels slightly too detached from its characters.

Has a better sense of character than almost any other film I've watched in a long time.

With all of its straight lines and perfect framing, absolutely gorgeous photography is the highlight of Kogonada's freshman outing. The pace may not be for everyone, as it may appear like a Linklater film it definitely does not move like one.

(GOODBYE, COLUMBUS)

Draws many structural similarities to Jarmusch's recent "Paterson". However where Jarmusch was able to magnetically sync poetry to life's curiousities, Kogonada's buildings seem to be completely detached. Existing as mysterious aesthetic safe-points, without a true human connection to drive home their power.

So Ozu

Viewed April 27, 2017.