It’s often said that certain films look as if they were advertisements for joining the U.S. Military, but a handful might be said to actually draw their images from them.
At least on paper, Anderson’s film, about the making of the album, qualifies as minor in nearly every way: its 54-minute length; its lack of a national theatrical release; its sudden announcement, relatively free from fanfare, less than a year after Anderson’s Inherent Vice. And yet Junun is in other ways a major event.
It’s a film that luxuriates in details, in textures, and specificity of places and costumes, and the particulars of Carol and Therese’s sexuality are absolutely crucial, yet also not the endpoint. What is it they say about finding the universal in the specific?
James Gray’s Two Lovers is an essential Dostoevsky film, engaged with many of the writer’s great themes and, crucially, illustrative of the ways that they must be reworked as they are brought into new settings—including some that would not have thrilled the author himself.
Considering herself intellectually null at the time (despite her reading Schopenhauer between takes), Brooks can be regarded as Pandora’s Box “auteur“ or “visionary“ after the fact only, and then, of course, in a spiritual rather than a literal sense.