Over the past decade, the cinema has increased in the interior, dismantling the myths and numbers that I supported once with reverence. What started with European Atteurs such as Lars from Trier In “Melancholia” or Michael Hanik In the movie “The White Ribbon”, she gradually leaked to Hollywood, where filmmakers are now interrogating their own crafts, and thus the industry that supports them. However, this motivation is often disassembled by actions that put more than the investigation-models that tend to waive or collapse to the self-hated profit around the burden of creation.
On this background, the issue of sincerity is waving great. How does the director make a central personality without deviation in self -psychology? How can a celebrity image resist both reverence and irony? Some of the most resonant films in recent years have answered a fragile balance – not only the attractiveness of public figures but also the raw fragility under it. They remind us that those who cannot be prejudiced are vulnerable to escape, self -sabotage, and longing like us.
With “Jay Kelly”, Noah Bombache takes directly to this terrain. The film opens with an impressive sequence: Jay Kelly (George Clooney), a famous movie star, who plays a scene of death on the sound space. This introduction not only shows performance; It announces the film’s preoccupation with deaths – one of them later chanted when the director of Kelly Ron (Adam Sandler) notes the inability to predict death in a city like Los Angeles. From there, the story follows Kelly, Ron, and his propaganda Liz (Laura DernThroughout Europe, it follows a journey through the remaining personal options, relations and inheritance. It also melts the line between man and legend, Baumpach calls us to reconsider the cost of fame and the originality of those who chase it.
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Kelly does not take a long time. The news of a teacher of a teacher for a long time puts his dissatisfaction with the movement, but he deepens when he returns a meeting with his former colleague in the room (who played with quiet by Billy Crohop) opened the old wounds. While the narration passes through the lush landscape in Europe, Kelly drifted between the magnetic image that it displays to the audience and the broken self that remains for it. This double in the moments of psychological infiltration – where the character intersects narration like an unwanted resonance. These interventions are forced Kelly at the expense not only with what it represents for others, but also with what he neglected in himself: bonds with a central day, now with distance and neglect.
Bumbash’s writing has always been in harmony with shadow artists who teach culture – and the most darker writer who carries it within themselves. Through his most ended works, his dialogue and graduation revealed how to coexist with self -absorption and self -awareness in creative life. With “Jay Kelly”, he directs the same energy through the most sparkling person. By performing Clooney layers, Baumbach plays with the dismantling idea of the pioneering man in Hollywood. The result plays less famous in a simple profession than a picture of a man who retracted his contradictions – his artistic art and charisma forever, unlike the intimacy that he cannot preserve.
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However, this is where the movie sometimes stumbles under the weight of its own design. The lines that explicitly emphasize its topics – an unfamiliar voucher for compresses – confirm the story from inquiries to instructions. “Perhaps your memory is trying to tell you something about the present“Ron tells Kelly at some point. It is a swinging line against the spelling of the most disturbing movie, which reduced what might be more clear cultural criticism to something closer to self -installation. However, the balance of the spiral film remains the result sometimes.
During a conversation at the New York Film Festival with director Joachim Trier and Balabash andEmotional value“The author discussed the idea of” sympathy for work ” – the idea that the audience sympathizes not only through imagination but by performing what they watch internally on the screen. The best films about Hollywood, or about filmmaking, are still working on this at the physical level. Hold the full protagonist, keeps the movie shyly out of transcendence.
In the end, Jay Kelly feels a story about a man more than he is one – about the continuous negotiation between the truth and the image we take in the world. Baumbach is not interested in offering redemption or decision. Instead, the protagonist notes with a mixture of distance and tenderness, as if he knows that no confession can surpass the legend she maintains. Clooney plays this contradiction with a kind of exhausting grace, and vanity turns into weakness and fame in fatigue. By the time when the film returns to the place where the theater began, the lights, the practice of practice – left us, you feel that the act itself was never the illusion. Perhaps the illusion believed that there is anything big behind it.
