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It’s a film making relationship Payne will retain, as by the time we reach and whose work with Payne slowly brings editing to the fore of the emotional connection with Payne’s audience, particularly obvious in the aforementioned montage sequences and some split screen work that nicely posits each man’s face against the intelligent wine producing farms and fields.Together with a killer original sound track of fifteen jazz instrumentals composed and produced by Rolf Kent and arranged for the band by Tony Blondel that took up its own momentum, the combination of sophisticated middle age appreciation for the finer subtleties of life and middle age angst struck a chord with audiences in 2004, to the extent that the wine industry experienced a peak in sales for Miles’ favourite wine Pinot, and a drop in his least favourite Merlot, and even spawned a Japanese remake in 2008.For the big, the world grows smaller and scarier; for the small, the world grows bigger and scarier.”After Alexander Payne’s more grounded films like the excellent Nebraska and The Descendants, it’s exciting to see him do a very “out there” social satire. It’s interesting that Damon would choose to be part of such a unique project and take such a big chance with his career.While his previous films have done a great job at focusing on aspects of life and social interaction, this looks to be his biggest risk so far, and it’s great to see such a major director taking a chance and trying something different (take note Michael Bay! One of his best, and unfortunately most underrated performances so far was in Steven Sodenbergh’s 2009 film The Informant.
Yet its most obvious question mark is the one that sticks in my head: would you exchange 99.9636 percent of your body mass and volume for a 9,900 percent increase in the value of your assets? wittily builds a strangely credible future world—how far into the future is impossible to say, since Payne’s films are invariably furnished and shaded in timeless Omaha neutrals—where such surreal deliberations are as standard in any American household as dividing chores or fretting over mortgage repayments.
To be fair, this is not at all a popular view: Payne is coming off a consecutive run of best picture and best director Oscar nominations for those two films, plus 2004’s warm, wistful could well make it four in a row, if Oscar voters aren't too weirded out by the sidestep into very earthbound sci-fi, and if they pick up on its none-too-subtle This Is America subtext.
(It is also has good festival karma on its side by opening the Venice Film Festival today: in the last years, that slot has gone to the likes of seems to play to the director's best, most acidly rueful instincts.
is the last film Payne will make with Taylor, as the original team of Payne, Taylor, Glennon and Tent finally falls away, leaving Payne stripped of many of the nuances that made his early films work so well.
“Downsizing after all, starts off in Norway and takes place in a not-too-distant future where humans are now able to shrink themselves to 1/8 their size as a means to battle over-consumption and the rapid depletion of earth’s natural resources, thanks to enlightened hippie-like Scandinavian scientists.
Ruth Stoops and Tracy Flick have obvious “walks” that separate them from the characters around them, as but by the time we get to Miles, that walk becomes the full embodiment of the dry emotional well into which he is pouring his soothing balm.