Not only an excellent double feature, but a journey into very strongly thought out colourings, very distinct palettes.
Marie Antoinette first: and that was right, for all the inevitable ending, it was more of a confection, as the colour choices tell you - a froth of aqua and pink and pretties, enough to make a shabby chic enthusiast swoon. One apparently historically accurate moment was when she reached the French border and was stripped of everything, possessions, clothes, apparently to not only confirm her gender but also leave behind everything Austrian for her new life in France. Makes you wonder if someone once did manage to trick 'em....
Volver second, and only gradually do you realise how dark its allusions might be. But stronger, Kaffe Fassett-drenched colours, reds and limes and turquoise. The final credits run over an ever-changing set of designs I wanted to have as yardage. Interesting to see how this film let Penelope Cruz be a strong woman in a way that Hollywood might find harder to achieve.
Both recommended.
Monday is the Oscars. The only wish I'll make is that I would so like to have Paul Greengrass win the Best Director Oscar for United 93. But I fear the sentimental never-won-it favourite, Martin Scorsese, will win for a violent film which, in the longer view, will matter less to the world than Greengrass' achievement. But nobody said the Oscars were anything but the Oscars, so I doubt my wish will be realised.
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