Logan Amanda Kramer’s last registration appears to be “by Design”, similar to the preparation and punchline for the invasion joke. When the woman becomes envious and enthusiastic with an amazing wooden chair, she suddenly finds herself in a chair. Or rather, it ended up replacing the bodies with her, and forced to live after that as an inevitable object that was magic before. It is clear that it is clear that it was clear that it was clearly working that it was clear that it was ultimately working on this higher work, you hope that the director would be “please Baby, please.
When Cameel (Juliet Lewis) arrives at a chair store with two friends, they barely record her presence, not to mention her desires and desires, barely admires what she sees. The space is an art gallery more than the furniture showroom. Each single chair includes its lighton. Nothing from what is in the stock inspires Camel. It is not a simple vibrator and not short stool. The pink person is neither an eccentric nor bright yellow color … so that it is, it is taken by what the narrator of the movie (Melanie Griffith) tells us “amazing” for a chair.
This is the moment that will change her life forever. By the next morning, her body will put the wrapping in the store, and Cameel will see that her new body – simple, wooden, with armrests but without filling – is transferred to his new home. There, it will fall in the love of Olivier (Mamoudo Athe), the luxurious new royal that Cameel is commented on.
Not only does the “design” follow a Camille’s journey, as Olivier soon becomes obsessed with his new chair – he may feel that a woman’s awareness is besieged inside her – but also the plight of Camel’s body. She left in her apartment, her body could do little but still fixed. (Until it was transferred to a new body, what will the chair do?) (Clifton Collins Junior). Unless Camell can do it in her daily life, her chair -like person accomplishes him suddenly. Here it is finally formed in the inner worlds of the closest to it. Unfortunately, it is not there to see that.
It is clear that Kramer has no benefit or loyalty to any of the realism. HERS is a film that flourishes the style that it raises more to the theater of Vanguard (to IENESCO, Durrenmatt, Sartre and the like) of any natural in the movie. Its theatrical collections, an antique wardrobe, and the blatant use of the lights, insists that we enjoy the surrealities of the procedures. From the Pinter dialogue that opens the movie (“I need a chair.” For what? “” The guests “tells us), Kramer puts a tone for the movie that shows that we do not take any of that seriously.
Nevertheless, as soon as it becomes clear, there are serious issues that are extracted. The envy of a chair (or to aspire to one to the extent that Camel and Olivier come) is not glorified. This is, what was not, as he does Karamer, you can search for what he might tell us about these characters that penetrate them regarding those they are, what they want, and how they want to realize it. For example, by washing us through very irony, for example, Camel’s mother is associated with her non -deadly daughter who is affected by “design” through what is expected of women like Camel. Can you really be a more clear person when a chair owns it? Does she end up knowing more about her desires when she is fully stripped of her body? Kramer’s curiosity about such questions and the ability of her game over the struggle in existentials that ultimately make her a suggestion in the end.
Khawulat for the film properly declares what Kramer requires them. Louis Cox is based on Cameel molasses. Most of the movie may spend unable to move, but her expressive face and her heinous behavior in early scenes are enough to draw who is Camel. Meanwhile, ATHIE finds the warmth in Olivier separation, using his deep voice ably for his amazing delivery that makes this serum man feel bonding at home with one chair.
But Griffiths is the audio comment that embodies the best mix of “design” of satirical comedy and hot drama. In its first role in nearly five years, it makes the simple dialogue of the film (who needs or appreciates Cameel as much as they do a chair?) The modern designed by Sigrid Lauren, which was appointed to the dark result by Giulio Carmassi and Bryan Scary).
Kramer, the master of her profession, remains able to dream of the facts in themselves and bring her along actors who surrender to her art. Lewis, Ati, Griffiths and even Udo Care (which appears briefly as a chair designer) is a treatment all the time. There is no doubt about an ambitious ambition to use Fabulation to empty contemporary questions about identity and desire. But Kramer’s Wisp eventually a short story connects under his own weight as it cares towards his final behavior and a prominent final line that helps give the movie title. This is because “by design”, despite its fun seriousness, works better as an intellectual exercise more than a final movie; It may still be better for Ghazim’s joke from the full issue.