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Aftersun Image

On a small television set, the image of a man: half-inside, half-outside, standing on a balcony, bathed in sunlight, faintly washed out by the texture of the video feed. Over his left shoulder, there he is again, caught in the reflection of a glass door, like a phantom of a phantom. And when the camcorder putting him on the TV shuts off, he appears a third time, reflected in the glass of the darkened screen as he moves into view. Is this moment a perfect expression of how we conjure the people we once knew, imperfect memory competing with however the camera immortalized them? One haunting shot in a movie full of them sees the past as a house of mirrors, catching ghosts from every angle.

Aftersun image

"Everything Everywhere All at Once" and "Nope": In a movie world where spectacles often come with little within, both of these films were absolutely brimming with ideas and images. You could call the Daniel Kwan and Daniel Scheinert's film and Jordan Peele's latest opus overstuffed. But their sheer cinematic abundance made them nourishing, vibrant exceptions. Much the same could be said of James Cameron's equally visionary "Avatar: The Way of Water." 041b061a72

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