![]() The life of Lazzaro and his peers seemingly exists out of time, until sudden events send him traveling into a future state where he doesn’t quite belong. ![]() But this time, she expands on her naturalistic style with a welcome dose of magical realism, following the tale of Lazzaro (extraordinary discovery (Adriano Tardiolo), a peasant who serves an affluent family in the countryside. “Rohrwacher’s surreal follow-up to her previous Cannes winner ‘The Wonders’ expands on her ongoing study of the way rural life is constantly threatened by urban progress. As Kurt Vonnegut put it: “We are what we pretend to be, so we must be careful about what we pretend to be.” He was writing about Nazi propagandists, but his words also ring true for cam girls who constantly live-stream themselves for chat rooms full of horny strangers. It’s one thing to curate some kind of identity on social media - to make ourselves appear more aloof and desirable than we they are in the flesh - but what happens when the projection of who we are begins to subsume the reality? What happens when our avatars take on lives of their own? These are well-trodden ideas that predate social media, but “Cam” lends them new life by making them hyper-literal. That’s when she’s replaced by her doppelganger. Even before things go totally haywire, you get the sense that she’d sooner die than log off - or that there’s no longer any difference between the two. Alice grows increasingly convinced that a life that’s watched is a life worth living, and every tip she gets from a fan is a reminder that she’s alive. She’s hellbent on climbing the charts of the popular cam site that dominates her life, and she’ll stop at nothing to get to the top (her favorite ploy for popularity: duping her viewers with grisly and elaborate fake suicides). Played to obsessive perfection by “The Handmaid’s Tale” star Madeline Brewer, and hatched from screenwriter Isa Mazzei’s own camming experience, Alice (who performs as “Lola”) is a successful cam girl on the brink of relative stardom. the way in which the internet’s short attention span requires people to constantly reaffirm their own existence), but this clever and unnerving mind-fuck of a movie is at its most effective when tracing the uneasy shadow relationships we share with our online personas. Daniel Goldhaber’s “ Cam” also touches on a number of other digital crises (e.g. “Cam” (2018) “Cam”įinally, someone has made a film about the existential horror of getting locked out of your account, and the horror is all too real. Shame about the Time Warner Center, though.Īvailable to stream November 1. Sure, the human characters are kind of dumb, but the monster disposes of them all in due time, leaving behind only pixelated memories and the splash of something shiny in the distance. Of course, Matt Reeves deserves his own share of credit for directing the thing, the future “Apes” filmmaker tapping into post-9/11 trauma and the rise of digital video to create a found-footage masterpiece that’s resourceful and spectacular in equal measure. Beginning with a surprise trailer before “Transformers,” Abrams’ greatest mystery box hatched a monster so compelling that we’re still wondering about it today, as the “Cloverfield” name alone proved enough to spawn an ongoing series of spinoffs. Abrams’ Hollywood takeover, but none of his other projects - either before or since - have so perfectly embodied his strengths as a showman. “Cloverfield” arrived rather early into J.J. Here are the seven best movies new to stream in November 2018. ![]() Netflix Names ‘The Lego Movie’ Producer Dan Lin Film Chief to Replace Scott Stuber
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