3,5/4 : Elisabeth Moss. Juste, Elisabeth Moss. Le climat ultra anxiogène, réussit à la perfection. Le son, l'image. Malheureusement, plusieurs scènes trop longues et un manque de ''nivelation'' des personnages qui sont un peu toujours sur le même beat, aussi bon soit-il.
Like Becky Something, Her Smell is chaotic and uneven, only just managing to hold it together by the end. The film works best when it doubles down on its grimy rock world, but its switching of camera styles (handheld v static) is awkward and obvious, and each of its five scenes are drawn out far too long. Elizabeth Moss (as not Courtney Love) and Agnyess Deyn are the clear stars in a messy of ensemble of cliches.
An oddly chilling and at times so ridiculous that it's comical film about burning out and finding ones self once again after doubt and hardship, "Her Smell", is an entertaining film that deals with envy and other typical themes that come with music dramas, however, this is led by an astounding performance by Elizabeth Moss, who creates an extremely captivating character that ultimately carried the film to success.
Elisabeth Moss may indeed be the most unsung, underappreciated actress working today. In conjunction, Alex Ross Perry might be the most overlooked director. Together, they make "Her Smell," a pungent picture that brings you face-to-face with the mental breakdown of an egomaniacal degenerate. A long-in-the-tooth first act squashes some of the power of the second, but its aesthetics and performances help even it out.
Elisabeth Moss as a monster actress in her credibility and acting for such a complex and maniac character. A really rollacoaster movie when a famous 90s anarko-punk band tries to reinvent themself whuile merging into a pool of drugs and bad depictments. The 2nd part of it shows an impressive sober version of Becky like a real life doc.
Watching this I could not help thinking about Vox Lux, in my opinion a film very similar in themes yet completely failing to rightfully and tactfully address the exploitative side of fame. While dealing with a different side of the music industry, Her Smell demonstrates mental decline in a empathetic way. Elisabeth Moss is a fantastic actress.
Alex Ross Perry's most technically accomplished and alienating film to date. Elizabeth Moss plays such an ego monster, I felt a palpable sense of relief whenever she wasn't onscreen—which, along with the burbling noise soundtrack, effectively puts you in the headspace of the other characters in the film. "Her Smell" also serves as a bittersweet homage to the last time guitar-based music had an impact on the culture.
Sound design really makes you feel like you are in the bowels of something (hell, prob), which must be what being underground venues is like. Then silence, and the potential for reflection, brings forward a nightmare of its own. Seems like Perry's most commanding creation yet - I could of taken another half an hour for that ending to really land. Loved the invocation of haunted-witch energy.
Will re-watch. A Shakespearean script - Moss speaks in soliloquies, projects onto others whole histories and dramas - her mates openly shout to an audience they hope will hear them - the 5-scene form - is something that might feel like Cassavetes, but also can't be. Editing, quite a task in this move, is superb. So is the unforgiving sound design. Deyn shines with Moss, who is, for me, the best of her generation.
Elizabeth Moss is a revelation here as fading punk star Becky Something. The problem is the character is so unlikable that the first hour is almost a chore to get through. The redemption angle in the second half plays better before its ham-fisted conclusion Interesting casting but a shame the script wasn't up to the same standards. And just how punk is Bryan Adams anyway? "Heaven"...really?
Why would anybody want to watch such self-destruction? You could apply that question to the audience, not just the characters, and the answer is Moss. She's frighteningly effective at seeming like a genuine waste case, not just an actress playing one. Perry doesn't have Cassavettes' skill at mining insight into people—this never opens the context like A Women Under the Influence. But the formal (sonic) arc is strong.
During the first half of the film, Becky Something is in full destruction mode: the mix of confusion, anger and alienation reminded me of Gena Rowlands in "A Woman Under the Influence". Then comes redemption and a completely new side to the character, not less devastating than the one we already knew. Elisabeth Moss is astonishing as ever, and Agyness Deyn was a wonderful surprise. Rock on, Alex Ross Perry!
Essentially unwatchable. Moss plays a one-note narcissistic, egomaniacal, grandiose rock star. She's turned up to 11 all the time, so we never have any reason to care about her. The plotting is so slow that the audience has far too long to get very tired of being in her entourage.
I've to be honest, the beggining atmosphere is precious, as well the all aesthetics and camera movements that was surronding the "crazy" Becky. I loved the VHS interludes and this vintage look. The thing is, in terms of narrative and shot election, it's a lil' bit confusing and sometimes boring.