Lynne Ramsay – You Were Never Really Here (2017)

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Quote:
Balancing between feverish dreamlike hallucinations of a tormented past and a grim disoriented reality, the grizzled Joe–a traumatised Gulf War veteran and now an unflinching hired gun who lives with his frail elderly mother–has just finished yet another successful job. With an infernal reputation of being a brutal man of results, the specialised in recovering missing teens enforcer will embark on a blood-drenched rescue mission, when Nina, the innocent 13-year-old daughter of an ambitious New York senator, never returns home. But amidst half-baked leads and a desperate desire to shake off his shoulders the heavy burden of a personal hell, Joe’s frenzied plummet into the depths of Tartarus is inevitable, and every step Joe takes to flee the pain, brings him closer to the horrors of insanity. In the end, what is real, and what is a dream? Can there be a new chapter in Joe’s life when he keeps running around in circles? Continue reading

Lynne Ramsay – Morvern Callar (2002)

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Willow Maclay wrote:
In Ramsay’s close-ups on Morton’s face, you can see a woman who’s breaking under the pressure, overloading her life with potent but fleeting experiences. In doing so, she remains mired underneath the weight of her own grief, which is always creeping through the surface. In a brilliant, subtle performance, Morton conveys the deep loss that suicide leaves behind, while also tapping into a total sense of reckless abandon. Ramsay amplifies the performance with an understanding of image and aural effect; the movie at times feels like the unleashing of a torrent of despair that can only be drowned out by the blaring of pop music in cheap headphones. Anything to keep the reaper away. Continue reading

Lynne Ramsay – You Were Never Really Here (2017)

29f7c043f76a2bde437fd0d52a185152

Synopsis:
Balancing between feverish dreamlike hallucinations of a tormented past and a grim disoriented reality, the grizzled Joe–a traumatised Gulf War veteran and now an unflinching hired gun who lives with his frail elderly mother–has just finished successfully yet another job. With an infernal reputation of being a brutal man of results, the specialised in recovering missing teens enforcer will embark on a blood-drenched rescue mission, when Nina, the innocent 13-year-old daughter of an ambitious New York senator, never returns home. But amidst half-baked leads and a desperate desire to shake off his shoulders the heavy burden of a personal hell, Joe’s frenzied plummet into the depths of Tartarus is inevitable, and every step Joe takes to flee the pain, brings him closer to the horrors of insanity. In the end, what is real, and what is a dream? Can there be a new chapter in Joe’s life when he keeps running around in circles? Continue reading

Lynne Ramsay – Swimmer (2012)

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Quote:
Swimmer is a poetic journey through the waterways and coastline of the British Isles, following a lone swimmer through lakes, rivers and coves. The journey is framed by a soundtrack of seminal British music, combined with a sound tapestry of hydrophonic recordings and snippets of bankside conversations. The film aims to give a real feel for the diversity of landscape and people of Britain. Continue reading

Lynne Ramsay – Morvern Callar [+Extras] (2002)

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“allmovie” wrote:
By Elbert Ventura

From its nearly silent opening passages to its exhilarating and enigmatic capper, Morvern Callar announces itself as the product of a singular sensibility. A tone poem for the rave generation, Lynne Ramsay’s latest film may be easier to admire than to like, but there’s no denying it establishes her as a filmmaker of tremendous promise. This follow-up to Ramsay’s acclaimed debut, Ratcatcher, is a kaleidoscopic immersion, as unknowable and magnetic as its titular heroine. Played by the superb Samantha Morton, Morvern is a cipher, at once strangely disconnected and thrillingly alive. Following the suicide of her boyfriend, she takes an unorthodox path, appropriating his recently finished novel as her own and using the money he left behind to go on a vacation with her best friend, Lanna (Kathleen McDermott). Morvern’s impulsive wanderings, which ultimately alienate even the free-spirited Lanna, come across less as inexplicable whimsy than as the pure expression of a generation’s existential restlessness. Steeped in cool solipsism, Ramsay’s movie privileges sensation over sense: at its best, it’s a captivating mosaic of color, music, and mood. In its opacity, Morvern Callar may seem to some a willful exercise in audience frustration. Those who surrender to Ramsay’s rough poetry, however, will find the movie a transporting experience.
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