![]() Ease is replaced with endurance – a kiss is stolen in the shadows while bodies quiver with adrenaline. ![]() But the tone and speed then entirely changes, as does the music – rest gives way to chaos, as these teenage soldiers taking care of a hostage must always be ready for war. Images of peacefulness follow each other – two young girls braiding a woman’s hair, a couple of teenage boys laughing under the spell of magic mushrooms, a mud fight, a fire dance. Mica Levi’s unsettling, somehow almost optimistic score opens the trailer for Alejandro Landes’ hallucinatory “ Monos” with a sweet whistle. If you push someone down, they’ll always come back up to tower over you. ![]() The font work in the trailer, opting for a slant but also two-part delivery, mimics the film’s ease with the idea of levels – one always conceals another. The genius is in the detail, in the layers of wickedly intelligent social awareness and karmic retribution. Plot details limit themselves to one group of people stepping in to take the jobs of another – and they’re best left scant. The visuals flash to key moments of the film, lights flickering, water splashing, blood splattering on soft white bread. And so does the trailer – a cacophonous pressure cooker, building tension, peppering jokes, marching to a beat that stops itself to make way for ominous double bass chords. The masterful under-the-skin Palme d’Or winner from Bong Joon-ho resists categorization – satire, horror, drama, thriller, gross-out comedy. The trailer is just as high-stakes as the end product. It’s a stylish picture of families in pain, with emotions lived out in full and neon lights that save and end lives. Brown lead the proceedings and play outlines of immense, world-shaking drama with sensitivity. Taylor Russell, Kelvin Harrison Jr., Alexa Demie, and Sterling K. The film has a unique structure, splitting itself in two – but the trailer feels whole, generous and empathetic towards all the different relationships making up the shape of this world. “Seigfreid” underscores the trailer for his sweeping emotional drama “ Waves” from start to finish, intersecting with whispered lines of dialogue about love and forgiveness from members of his onscreen family. Trey Edward Shults makes no secret of the fact that he loves Frank Ocean. The trailer teases the film’s dangerous spirit, setting fire to expectations, raising them beyond belief. Fire burns away preconceived ideas of what love is, as Gael Garcia Bernal looks like a bruised puppy and troupes of dancers move in unison to the ominous sounds of desire. Pablo Larrain’s new film finds an electric performer in Mariana Di Girolamo, as the pyromaniac eponymous woman who just wants to feel intimacy without destroying it. The beats of Nicolas Jaar’s infectious score, making hips swirl and scenes crash against each other. A man and a woman sit in an embrace in a kid’s bed shaped like a car before centrally framed shots picture them confronting each other. ![]() The only words spoken in the trailer for “ Ema” are in Spanish, but the pulsating feeling is universal. Full of the movie’s haunting, boxy black-and-white imagery (mermaids! tentacles! storms!) and framed around Willem Dafoe repeatedly asking Robert Pattinson‘s “Why’d ye spill yer beans?” interspersed with gushing critical praise, it’s probably the greatest clip you could ever produce in an attempt to sell a movie as singularly weird as “The Lighthouse.” God knows if it actually got anybody to go see the movie, but it’s a beautiful companion artifact nonetheless, you filthy, scurvy-laden bilge rat. About two idiosyncratic lighthouse keepers trapped together and go nuts in the 1800s, “ The Lighthouse” is a movie that casts its very own distinctive spell, and it’s a testament to the trailer that it captures that spell, if only for a few moments.
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