10 hrs ·
i watched two films which were quite different about love. Europe, she loves and Take this Waltz.
Both work in the transitions. Both are harsh on romantic love. Take this Waltz is a little bit too much early morning light meets ditzy Michelle, and yet, I love the cuts, the lingering. It has one of the nicest scenes of desire in a cafe I have watched in a long time. And then this: Music kills the radio star on my favourite fairground attraction. Then the lights go on. It closes with her going there again, by herself, in the end. Europe, she loves ends with the woman from Seville driving towards France, the one from Thessaloniki going to Italy.
Europe, she loves in full length here:
<< both are flawed in different ways; Europe is too leery I find: both on the women’s bodies but also on the centre (a German filmmaker) watching the poor periphery; and, I really dislike Seth Rogen, the tweeness of their couple desires. Yet: keeping hold of the transitions. Take this Waltz has good lines to this effect: Margot talking about her niece as a newborn sometimes, possibly just stepping into the same inexplicable melancholy that she also falls into once in a while; her sister, drunkenly, much later calling her out on: lives just have gaps, that is just what is, but it doesn’t mean you should go about filling them.
Mubi has the habit of hitting play when I open the computer again, so I tend to head the closing credits from the night before early in the morning. I read on a little more and this is a nice write-up of what is good about Take this Waltz: it is ordinary about what we keep with ourselves when we move on, who we remain, what we seeks. https://mubi.com/…/take-this-waltz-then-move-on…
— this describes the opening scene, and we only discover right throughout at the end who the man is that walks by (but, we could have known: it is Seth who cooks in in her first home, not her).
Sarah Polley’s most pronounced statement in regard to this uncouthness is the scene at the beginning and ending of the film. Margot is cooking at a stove (echoes of her husband) in her new apartment and she sits down in front of it and stares about, while she wonders, thinks, regrets?—we don’t know—just as Daniel (the one she leaves her husband for)wanders in, unfocused, and stares out the kitchen window, though at the end she eventually goes and hugs him, from behind. How can we understand love, loss, need, and other feelings? The images of an actress silently displaying a mix of feelings is the statement, which might only be a catch-22 leading to the cliché, life is hard.
… Wiki writes about her regretting leaving Lou/Seth — she might, but what happens in the last 10 minutes is a time forward piece that moves her and Daniel into a place similar to where she and Lou were, and thus demarcates a lack/ a loss/ a need unfulfilled (that then gets called out by her sister in the scene I mention above).
this is the early scene that tells us that it is about ‘missing connections’, it is a sweet unpicking of one’s own curious anxiety of ‘inbetweens’; Daniel later tells her he may have the same, his conclusion is to move away a few days later: