It’s always funny to see a director try something new. Josh Cox’s films are often filled with romance and bittersweet melancholy. His camera is a tool to scrape off sensations, tactile sensation memories of time and place.
but, Muse He embraces filmmaking in the horror genre, and places great points on it. Cox takes in just four minutes, in just four minutes, he embraces what he knows, sensuality and strange longing, creating time and place in mood, and using it to make gothic desires, murders, longings Create a stylistic story.
Muse Again, Cox sees it as all trades, as an editor, film director, writer, director, grip, stylist and more. Muse Nonetheless, humming with unpredictable pleasure. Cox proudly influences his sleeves when he draws from hammer films and Jean Lorin films.
Cox has always been stylistic, Muse, He chooses to soak his toes in surrealists. His editing is more playful, the mood is more fulfilling, and his costume is more lush and playfully on top. Using a filter to add the feeling of a faded film vibe to your work, it also adds a mysterious air. Mateo Correa, hero Muse In most scenes that take place during the day, you become a vampire. So he is, instead, a frustrated artist plagued by confused desires as he wrestles with his inner demons and loses his battle.
Muse It feels alive and thorny, just like when Correa’s main character appears with the young Asian Fuji Ng. Cox’s camera feels like a snoozing Tom as he observes eroticism becoming fatal. Unlike his other films, Muse It is not torn from meditativeness or memory. It’s much more enthusiastic and enigmatic.
Cox is an obvious student of the genre as he peers at the old and familiar ratio trop in his shorts. My favorite is the screams of women disappearing into the screeching of the train. Only here is Cox disappears into the subway screeching using the man’s screams. That’s a little thing that tickles me.
He trades for more urban environments in normal rural environments. Not first, but his shorts Brooklyn summer day Two women in love with Brooklyn followed in the background. Here is Cox, the Lower East Side, using buildings and light to create a damp, coolness, as if on the edge of a marsh, not the East River.
Queerness and horror films always went to James Whale and even Mary Shelley herself, holding hands. Cox has been playing with aspirations in a world that has become increasingly hostile over the past few years. The way Correa’s desires are written on his face, even if he is about to leave. As his impulses are released, his face is twisted with pain and oval despair.
But even if it means his own damage, he cannot stop what is inside. The final frame of Muse We know Cox, show us something romantic. The Correa liberation of violence comes not from the illness born within him, but from the need to hide himself from the world.
The black woman played by the muse, Oumu Eden Traore, pretending to be him, does nothing for him. His paintings she inspires fill in his picture books, but he can barely take himself to see them. It is the men he sees on the street who feeds him and makes him bored. It’s not self-loathing that Cox is exploring, but by bottling sexuality, he stops artistic growth and captures the truth of others, but not the truth of his own. , a way that can lead you to the Primrose pass of frustration.
Muse It’s a bold new direction for Cox. I would lie if I said I wasn’t excited to see where this would take him. As a lifelong defender of genre films, it pleases me to see someone soaking their toes in the pool with such pleasure.
Image courtesy of Americana Pictures
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