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Dan Gilroy is one of those trusted players in Hollywood, known for his collection of solid credits – mostly as a screenwriter and producer – for several decades, then one day suddenly burst with a Major work that felt like a fresh new edgy kid on stage that made everyone go "WHOA! Who is this new, edgy young child on the stage !? " … only to remind him that he was in fact almost 60 years old, that he had always been (he has been married to René Russo for almost 30 years).
Gilroy's late arrival as a screenwriter-director was performed as part of an ultra-scary psychological thriller of 2014 titled Somnambulist, which was followed by the tepidly received Roman J.Israel Esq in 2017. Whether in response or by chance, Velvet Buzzsaw brings it together with Somnambulist stars Jake Gyllenhaal and Rene Russo and returns to the dark scenery of this Los Angeles film; but this time with a more extreme jump in pure horror and satire of sharp observation.
Settled in and around the world of Los Angeles' upscale contemporary art scene, the film presents Gyllenhaal as a pretentious and highly influential art critic, Russo as a former punk musician turned merchant to Unscrupulous art, Zawe Ashton as an ambitious badistant, Toni Collette as a private buyer of the Queen of Ice, Tom Sturridge as an obnoxious gallerist, John Malkovich as an "art". artist worn out and in ruins and Daveed Diggs as a street artist about to become a great artist. They are all completely awful, improbable, smoothing, snobbish, important people, unbearable and – as in Somnambulist – Gilroy has the talent to capture the realistic essence of this type of personalities in a way that is authentic enough to avoid a caricature pure and simple, but a high feeling. just enough to be still "funny" when they need to be.
In the actual narrative, Ashton's badistants are likely to discover an extensive collection of disturbing yet compelling paintings in the apartment of a mysterious elderly neighbor who died in suspicious circumstances and – seeing an opportunity – enter into an arrangement involving or encouraging all others. In a way, the main characters expose and sell the art of mystery for what appears to be a significant potential profit. But hardly have they embarked on the adventure that strange events occur and that strange accidents begin to arise in the lives of all those involved in these strange paintings: nightmares, visions, bad luck , tense relations, nervous breakdown, etc.
The situation gets worse when his critical instincts drive him to investigate the past of the unknown artist. discover summary references about childhood trauma, psychiatric institutions, government experiences – just about everything you do not want to discover in a situation like this. And that before people start to die in … "interesting" circumstances. Say more, it would give up the game, but hey, use your imagination.
Or maybe … no? It's sort of the second layer of "pleasure" that is hidden in what is already a cleverly mounted small-scale exercise of genre: at one point, you start to realize that Velvet Buzzsaw delights in the joys of hiding his intentions in the sight of all and the more we look in the margins a semblance of esoteric turn or deconstructionist angle of the "kind-elevating" more we discover that the simplest version of what seems to happen is exactly What's happening – to the mechanism by which a "haunted" painting could become haunted or how this concept could manifest itself in a scary film.
Which, of course, seems to be all the gag: Velvet Buzzsaw is, indeed, a conventionally structured campfire story "You should not have opened The Scary Box, Dummy!" which happens to be placed between (and exclusively stars) exactly the kind of pretentious characters of wind bags who are in the very state of looking too hard to face simple and obvious things and try to over-think them in order to flex their supposed sophistication and soothe their insecurities. In reality, Gilroy is himself engaged in the same mental mind as the malicious totems of the film itself: "HA! All of these high-caliber "actors" who made very well-known and authentic representations of smart people in the art world thought it was turning out well for high-caliber shit, but instead, I just watched a movie above average. Tales of the crypt – I've had you! "
It does not matter how many Velvet Buzzsaw is a meta-textual joke and how much it's just "Hey, I got this idea for a horror movie and my rolodex has a tonne real actors; "What ultimately enhances the exercise is that Gilroy has a very effective and efficient sense of eye stimulation, and that the actors do a very good job playing what could have been a collection of characters from completely straight parody – even when things become inevitably very strange in Act 3.
It's Gyllenhaal, who is sometimes known for "engaging too much" with material like this, but it's just a terrifying, strange and yet unnerving rendering of a man who more than any other character, a whole existence has been built up sealed in a bubble of irony, pretense and detachment that has broken at once in contact with the slightest trace of a force that he can not "deconstruct". Honestly, this is one of the best representations of "the man who plunged into the abyss completely He is really great in this field and, along with Ashton's entrenched turn and the expected professionalism of veteran Malkovich and Russo, finally makes the film.
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