Gray seems to be caught in the thrall of two paradoxically reconcilable traditions: the modern (cell phones, a clear sense of diversity, liberated and tastefully explicit sexuality) and the classical. But he continually finds ways to make the two work in tandem, in scenes that say so much with just The Shot. The screenplay itself is quietly effective, but what I’ll remember is the awkward, pained, yet cool movements of Phoenix, the smudged mascara of Paltrow, and the conversations conducted first by shouting, then by phone, across an apartment complex, all of which culminate in a wondrous, totally ambiguous ending. I was hoping that Gray would go the entire film without any overt romantic gestures between Phoenix and Paltrow, but what he did is nearly as heartbreaking.
Double Indemnity (rewatch)
Managed to forget nearly everything surrounding Edward G. Robinson’s and Jean Heather’s characters, which, while perhaps understandable, made my conception of the film just before rewatch largely flawed. There is an ocean’s worth of seediness and dirty laundry here, but there is also a great deal of humanity, and Wilder does wonders in making every character (except, perhaps, Tom Powers’) function as more than just a cog in the inexorable machine that signals Fred MacMurray’s doom. It is a world of hurt and pain, and yet there is some small hope of redemption, at least until it is silenced by a gunshot.