Beautiful Audrey is expected to remain with her high-school quarterback boyfriend and become a successful fashion model, but she instead becomes interested in a man of mystery—a man with at least one manslaughter in his past.
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Hartley deftly captures that hopelessness some of us felt during the 80's when Reagan was gambling with our lives. The yuppies were resplendent and clueless and damned to a life of rampant materialism. There was a lot more flexibility in terms of the movies that were being produced and Hartley pioneered a style that was literate and full of frustration.
An endlessly curious blend of Ashby & Bresson. Every Hartley scene feels rigorously conceptualized, though the result suggests a spontaneity & playfulness as nuanced as Hawks. Attempting to summarize the all-embracing concept of a Hartley moment inevitably ends in frustration. Here's a gorgeous illustration of cinematic atonality, of structural & performative plasticity. I'm bewildered by its sincerity, its irony.