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“I don’t feel at home in this world anymore.”
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Above all else, the movie follows a dreamlike path as it portrays the travails of a man grappling to find stability in life lost in his confusion, we become partners in this quest, as its hypnotic story becomes universal. The film never quite flies off the rails so much as it careens from side to side on the same beguiling path, with the most remarkable outcome being that the enigmatic pieces fit together. But the craziest thing about “Staying Vertical” is that these scenes adhere to a certain internal logic. Or it could be the prolonged shot of gay sex set to classic rock, in which Leo literally fucks a guy to death. Or it could happen earlier, when Leo wanders through a swamp, hiding from his agent, who demands an overdue script. It might be the moment when filmmaker Leo (Damien Bonnard) finds himself homeless, wandering city streets while carrying his infant child, and gets stripped naked by a pack of homeless people.
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It’s never entirely clear when “Staying Vertical,” French director Alain Guiraudie’s followup to “Stranger By the Lake,” shifts into allegory. Long after the finale, I'm still thinking about the show's last shot.READ MORE: Sexual Revolution: France’s Alain Guiraudie On ‘Staying Vertical’ and Why He’ll Never Sell Ou t
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It is such an expertly crafted series that even when it kind of misses, you barely care this just became another detail to unpack. There were a few weeks when Mare was the only thing I and everyone I knew could talk about - maybe the closest thing to a quote-unquote watercooler show we've had in a while. It's the show that gave us Jean Smart playing Fruit Ninja on an iPad.
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It's an example of how to effectively world-build, how to make a TV small town feel like a real small town. Mare is a showcase for an outstanding group of actors - not just Winslet, but also Evan Peters as Mare's partner, Jean Smart as her mother, and Julianne Nicholson as her best friend, all doing their best Delco accent work. But despite how many dark murder dramas are out there, Mare is special: It is an enthralling mystery it is a character study of damaged people it is, occasionally, a mother-daughter sitcom. The series follows the titular Mare ( Kate Winslet, giving one of the best performances of her career), a Pennsylvania detective, as she investigates the killing of a local teen girl while simultaneously coping with her own deeply set trauma. On the surface, Mare of Easttown seems like any other crime show about a grizzled cop solving a case.
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Kate Winslet, Mare of Easttown Michele K. It's the kind of show that lets you have as much fun trying to unravel the central murder as you do thinking about what all the images in the hotel wallpaper mean. But even when you take a minute to laugh at the misadventures of the extraordinarily wealthy, The White Lotus pushes forward with a creeping sense of impending doom, since you can't help but wonder who, exactly, is going to end up dead at the end.
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It's just so addictive, with its sharp, incisive writing and its cast of eccentric characters, like Jennifer Coolidge's emotionally fragile Tanya and Murray Bartlett's high-strung hotel manager Armond. The dramedy is a classic upstairs-downstairs story, set at an idyllic resort in Hawaii, following the lives of the guests and the staff for one fateful week. Like so many murder mysteries, The White Lotus opens with a dead body, but that's not exactly what the show is about. Murray Bartlett, Jolene Purdy, Natasha Rothwell, Lukas Gage The White Lotus HBO The White Lotus