Magnolia (Anderson, 2000)


With rapid editing, montage, multiple climaxes, inter-cutting, etc. there’s much to pay attention to and so much more to easily gloss over. Nearly the entire film plays out like its in this perpetual climax where each character is about to explode in relentless emotional expression. Even the music is constantly reaching cathartic heights that mirror climactic shifts, and the quicker the cuts the more extreme the circumstance seems to become, even when the events are all rather innocuous. What such a technique does extremely well is get the audience into the mind set of each of these suffering characters, their frustrations and turmoil, so that we can feel the connection they have with one another not only by their potential proximity to each other/relationship etc. but by their sheer humanism, their will, their isolated stories of struggle.

81/100 – Great.

4 Stars


About Kamran Ahmed

I have a Masters in Cinema Studies from the University of Toronto. I work as a freelance writer and film critic in Vancouver. My writing is primarily distributed through Next Projection, an online film journal based in Toronto.
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