Dear ladies and gentleman, hard copy book lovers, Type-O-Negative, Latvia, Tarkovsky, Gaper Noe and the distinguished arts community of the Russian Federation and Eastern Europe. Bukowski, Toshiro Mifune, Kurosawa, Dersu Uzala, Wong Kar Wai, and Fatih Akin. On top of the dumpster of reboots and half dead superheroes the Summit Cinema glistens. Since when did Comic-Con dictate global cinema? We here at The Summit know cinematic nectar when we screen it. Nicolas Winding Refn has done it again the man has ripped the roof off the dumpster. "Drive" was a beautiful operatic fairy tale. Inspired by Thomas Mann and 1980's Michael Mann. "0nly G0d F0rgive$ is a ghost red room nightmare into beautiful hell. The film immediately draws correlations to Lynch's "Fire Walk With Me" and Wong Kar Wai's "In The Mood for Love". The establishing shot of Gosling's outstretched arms and clenched fists book end the last image seamlessly. Julian is a man who has killed his father with these bare hands and loves his mother. Oedipus and Greek tragedy have been commented on by numerous viewers and critics. Critics complain that the film has cardboard characters, is visually over indulgent, no hero, and complain at Gosling's 12 lines of dialogue. I have a response to these allegations. Learn to sit and read a hard copy book like a film. Refn obviously feels confident with assigning his lead actor little to no dialogue. This forces the true cinephile to go internal on a wild ride with a visual pleasure cake in a pulpy, haunted, neon Bangkok, Thailand. The stares of Gosling reveal a man who has always been in the shadow of his brother, emasculated by his mother and is methodical about every decision.
Cliff Martinez drives a stake through the heart of a vampire with a haunting fever dream of a score. I have never seen karaoke utilized as a serious art form and a way of life. Vithaya Pansringarm is the Thai police chief who from his opening shot wearing wing tipped shoes on a rain slicked Thai alley has the vision of a samurai and a surgeon. He defines intensity simply by standing erect. Many would call Chang the villain, but I see him as a judge. Everyone he punishes is from the criminal underworld and I agree he is despicable. Yet he never dies and for Refn he perhaps takes the human form of God as Michelangelo illustrated in the Last Judgement.
Kristin Scott Thomas plays Crystal Julian's mother. She is the character I love the most! The range of Thomas as an actress is astounding. In "Loved You So Long" by Phillipe Claudel she delivered one of the most emotional performances in years. Here she has been shaped into an ice sculpture by Refn he claims Lady Macbeth and Donatella Versace were primary influences. The hotel check in and family dinner sequences are show stoppers.
On to the best part. The cinematography by Kubrick's Larry Smith is flawless. The red hall ways with exquisite Dragon wall paper are jaw dropping. The blue slit lighting in Gosling!s eyes in a solid red room are genius. The slow motion sequence of the two Thai Hitmen in flip flops wearing sunglasses on a neon lit dreamscape is my favorite visual in the movie. There is no dialogue just lips
moving and hypnotic techno. The reds lead the viewer literally into hell. Ghosts were definitely in
the machine. Even if Cannes booed the film it is meaningless. It was a hit at our festival. The
Summit Cinema thanks our hits from Latvia. Until next keep your eye on the screen and not the smartphone. Stay tuned for part 3 of the Summit Cinema festival and enjoy the ocean this summer!!!
Tuesday, July 23, 2013
Wednesday, June 26, 2013
Summit Cinema: Film Festival
Ladies and Gentleman, hospitable Southerners, the French Foreign Ministry of Culture,
surfers, hip hoppers, David Lynch, Pantera, and Limp Bizkit. While television may try to slay the cinema Gods. I can always count on a few lads and lassies to keep pushing the envelope even when the box office return rate has shell shocked the rest. After Steven Soderbergh's "retirement" State of Cinema speech I got a little nervous it was an amazing speech from a cinematic wizard with tent pole success. So when he said cinematic art is vanishing quicker than Barnes & andNoble I got concerned.
Then I went to the first day of the summer Summit Cinema festival and it all changed. The red carpet
was out in Hollywood. The Magnum Ice Cream bars sponsored. Which of course means the stiletto Magnum Girls. Sofia Coppola and Paris Hilton did the ceremonial ribbon cutting. The assortment of
noir black and white fashion was there. Marc Jacobs, Tom Ford, Alexander McQueen, and Karl Lagerfeld brought high fashion onto Sunset.
The room went dark for none other than the cinematic treasure aka Sofia Coppola's "Bling Ring".
Opening shot of teenage kid's scaling a celebrity's fence etched in security camera lime green night vision set the tone. The film chronicles rich teenage angst with a bull's eye. In "Rebel Without a Cause" James Dean enters a new school friendless. The same is true for Israel Broussard's character. When Dean asks Buzz as they are about to drive cars off cliffs "why are we doing this?" The response from Buzz is "we have to do something". Reckless teenage excess has been happening since the 1950's in cinema and now Sofia God bless her has taken a whack at youth gone wild. For all the critics who find the characters as shallow, unlikable, and are aimlessly searching for a protagonist happy hunting. When I looked I found teenagers that were bored. I was happy that Sofia chose not to judge them. I myself have no idea what high school would be like today? Celebrity and reality television may be the other focus of critics. I saw the stealing and home burglaries of celebrities as teenage rebellion. Ironically in "Rebel Without a Cause" teens die the same could be said for "Less Than Zero". Nobody dies here, but jail is on the menu. I never really thought throughout the movie how hard Paris or Lohan's life must have been as a result of the burglaries. Sofia Coppola turns the stealing into an addictive art form.
Onto the best part and away from the academic analysis. The feeling as a viewer was amazing. The bucket of color Sofia dumps is awesome. The shoes, jewelry, handbags, outfits, and homes themselves jump off the screen like a Porsche driven by Duran Duran. The club scenes and color patterns reminded me of Michael Mann's "Miami Vice" movie. The party atmosphere and quantity of drug sequences set the mindset and tone of these crazy teens. The music is perfect rap, techno, and Sofia's personal picks. Nobody is writing about the parents in this film they are just as out of touch with reality or missing in action as the teens are. The best visual images are Katie Chang spraying Lohan's perfume in slow motion, Paris Hilton's shoe room, Emma Watson' s outside of court television interview, and the best visual the exterior shot of the Hollywood glass doll house mansion as the camera slowly zooms forward and the interior landscape is occupied by Katie and Israel.
The Summit Film Festival is of to a sizzling start. Don't touch that dial cinefiles!
surfers, hip hoppers, David Lynch, Pantera, and Limp Bizkit. While television may try to slay the cinema Gods. I can always count on a few lads and lassies to keep pushing the envelope even when the box office return rate has shell shocked the rest. After Steven Soderbergh's "retirement" State of Cinema speech I got a little nervous it was an amazing speech from a cinematic wizard with tent pole success. So when he said cinematic art is vanishing quicker than Barnes & andNoble I got concerned.
Then I went to the first day of the summer Summit Cinema festival and it all changed. The red carpet
was out in Hollywood. The Magnum Ice Cream bars sponsored. Which of course means the stiletto Magnum Girls. Sofia Coppola and Paris Hilton did the ceremonial ribbon cutting. The assortment of
noir black and white fashion was there. Marc Jacobs, Tom Ford, Alexander McQueen, and Karl Lagerfeld brought high fashion onto Sunset.
The room went dark for none other than the cinematic treasure aka Sofia Coppola's "Bling Ring".
Opening shot of teenage kid's scaling a celebrity's fence etched in security camera lime green night vision set the tone. The film chronicles rich teenage angst with a bull's eye. In "Rebel Without a Cause" James Dean enters a new school friendless. The same is true for Israel Broussard's character. When Dean asks Buzz as they are about to drive cars off cliffs "why are we doing this?" The response from Buzz is "we have to do something". Reckless teenage excess has been happening since the 1950's in cinema and now Sofia God bless her has taken a whack at youth gone wild. For all the critics who find the characters as shallow, unlikable, and are aimlessly searching for a protagonist happy hunting. When I looked I found teenagers that were bored. I was happy that Sofia chose not to judge them. I myself have no idea what high school would be like today? Celebrity and reality television may be the other focus of critics. I saw the stealing and home burglaries of celebrities as teenage rebellion. Ironically in "Rebel Without a Cause" teens die the same could be said for "Less Than Zero". Nobody dies here, but jail is on the menu. I never really thought throughout the movie how hard Paris or Lohan's life must have been as a result of the burglaries. Sofia Coppola turns the stealing into an addictive art form.
Onto the best part and away from the academic analysis. The feeling as a viewer was amazing. The bucket of color Sofia dumps is awesome. The shoes, jewelry, handbags, outfits, and homes themselves jump off the screen like a Porsche driven by Duran Duran. The club scenes and color patterns reminded me of Michael Mann's "Miami Vice" movie. The party atmosphere and quantity of drug sequences set the mindset and tone of these crazy teens. The music is perfect rap, techno, and Sofia's personal picks. Nobody is writing about the parents in this film they are just as out of touch with reality or missing in action as the teens are. The best visual images are Katie Chang spraying Lohan's perfume in slow motion, Paris Hilton's shoe room, Emma Watson' s outside of court television interview, and the best visual the exterior shot of the Hollywood glass doll house mansion as the camera slowly zooms forward and the interior landscape is occupied by Katie and Israel.
The Summit Film Festival is of to a sizzling start. Don't touch that dial cinefiles!
Saturday, May 18, 2013
Frances Ha's: magical dance through Manhattan
Noah Baumbach is a great writer. He illustrated his skills in "The Squid and the Whale", "Margot at the Wedding" and "Greenberg". All of those films are demonstrations of a writer whom is in total control. One reoccurring theme of his previous work is neurosis. In his latest feature Frances Ha he drops the shackles of neurosis and depression and offers hope. Co-written and starring the show stopping and dazzling Greta Gerwig. Together they have offered a unique and artistic perspective for a 27year old woman in New York. Gerwig is vulnerable, unsure of herself, hilarious, gritty, pure, and witty. Three scenes stand out I won't spoil them. The dinner scene with the friends family, her running pirouettes, and the look between her and Sumner that she eloquently lays out earlier in the film. Baumbach has outdone himself. The collaboration with Gerwig for the second time is by far the finest motion picture he has created thus far. Some critics are upset that he chose for the movie to have no sex. I can say that the innocence is part off what makes the film a breath of fresh air. Frances will be a studied and forever cool character for years to come.
France Ha is a film that pays tribute to the golden age of French New Wave cinema. Truffaut's
"Small Change" and Goddard's "Breathless" are referenced. Baumbach is also influenced by the great Woody Allen's "Manhattan". The use of black and white is wonderful. My favorite aspect of the film is the look of New York. The perspective of the city feels fresh as channeled through Frances. The writing captures a late unestablished artist who is 27 in New York perfectly.
The film may pay homage to the classics, but like Frances it is totally unique!
Thursday, April 18, 2013
To The Wonder: Reinvents the Wheel
To The Wonder by Terrence Malick swirls across the wheat fields of Oklahoma and kisses Mt. St. Michel in France. The film is by far Malick's biggest roll of the dice. His other films are all amazing, yet easily accessible to the average moviegoer. Here the dialogue is sparse. And on three viewings at the theater many people have left or felt uncomfortable by the silence. I think our current culture and it's technological restlessness are to blame. Thank you Mr. Malick for creating a cinematic meditative experience. The film takes the viewer places emotionally and metaphorically.
In looking at France under the lense of a master is beautiful. The film reinvents the wheel of cinema in that it feels like a silent film yet the whole thing seems to be communicated through interpretative dance. Olga Kurylenko hailing from Ukraine brings a ballet to Malick's visual symphony. Her dance, gestures, joy, disdain, childishness, and imagination are the backbone of the film. Ben Affleck is solid as the man whom says very little. He tests water for contamination and in performing these functions the American soil appears polluted. The sense of wonder and imagination that Kurylenko possesses is difficult to find domestically.
America perhaps is jaded from beauty and dance. Many cinema goers on opening day said things to the effect of it felt like a two hour Calvin Klein commercial. What some fail to see is the average director could try for 10 years to get the shots of the wheat fields, industrial spaces, buffalo, evicted homes, Mt.St. Michel, Versailles, and never scratch the surface.
Another treat for American cinephiles and global moviegoers was to see America and France both presented in the modern day. Malick has never shot modern day and viewing an Oklahoma supermarket and it's aisles was fascinating. Modern day machinery at construction sites looked foreboding. Malick has made his most personal film because it is autobiographical. Salutations to the Sun God for allowing the director to capture such beautiful natural light. This is the type of film that makes all the other bad movies fade to dust.
In looking at France under the lense of a master is beautiful. The film reinvents the wheel of cinema in that it feels like a silent film yet the whole thing seems to be communicated through interpretative dance. Olga Kurylenko hailing from Ukraine brings a ballet to Malick's visual symphony. Her dance, gestures, joy, disdain, childishness, and imagination are the backbone of the film. Ben Affleck is solid as the man whom says very little. He tests water for contamination and in performing these functions the American soil appears polluted. The sense of wonder and imagination that Kurylenko possesses is difficult to find domestically.
America perhaps is jaded from beauty and dance. Many cinema goers on opening day said things to the effect of it felt like a two hour Calvin Klein commercial. What some fail to see is the average director could try for 10 years to get the shots of the wheat fields, industrial spaces, buffalo, evicted homes, Mt.St. Michel, Versailles, and never scratch the surface.
Another treat for American cinephiles and global moviegoers was to see America and France both presented in the modern day. Malick has never shot modern day and viewing an Oklahoma supermarket and it's aisles was fascinating. Modern day machinery at construction sites looked foreboding. Malick has made his most personal film because it is autobiographical. Salutations to the Sun God for allowing the director to capture such beautiful natural light. This is the type of film that makes all the other bad movies fade to dust.
Saturday, September 22, 2012
THE MASTER: Sails past everything this year!
Ladies and Gentleman it is my pleasure to announce that the film of the year in 2012 is without question "The Master." The films opening over head shot of choppy water from behind a vessel accompanied by Jonny Greenwood's music sets the tone of an amazing film. Director Paul Thomas Anderson has not missed a beat since "There Will Be Blood." The film is in many ways a companion piece to that film. Oil and religion is simply repaced by sailing and the occult. The scene where Phoenix and Hoffman first meet below deck is one of the best scenes I have seen in movies in years. The film is so superb that it is the type of movie that makes up for all the bad movies you may have seen in the last year. I am truly baffled at explaining at what makes the movie markedly superior. I will try. The main character played by Phoenix is difficult to explain. He is tormented, shell shocked, reckless, crazy, genius, erratic, but above all sensitive. The sensitivity is what makes Freddie Quell three dimensional. Lancaster Dodd played by Hoffman is a man who is completely sure of himself. The chemistry between the two is like father and son, long lost brother, veteran, mentor, and teacher. Amy Adams is the neck that turns Dodd. She is flawless at being a 1950's mother with unbelievable power and icy determination. In some ways she is the leader of "The Cause." She influences the writing of Dodd and is the backbone of the movement. She dismisses Quell early on and is one tough character. Phoenix, Hoffman, and Adams all are picture perfect in this cinematic gem. The cinematography in the 70mm print is unprecedented. The grid illustrated from all the close ups on characters faces and not focusing on the background is amazing. Close ups of heads of lettuce and reapers in Salinas are exquisite. Paul Thomas Anderson has raised the flagpole of cinematic greatness and achievement. While sadly others are turning to television, recycling old ideas, or having gargangtuan problems with distribution, or simply they just sailed into the sunset. Watch it go cinephiles! Watch it go!
Friday, August 17, 2012
Cosmopolis: Capitalism/Gordon Gekko/ Melting Computers
The Summit Cinema Circuit has had a great moviegoing summer this 2012. I will cover more films in the coming weeks.
Today the one and only auteur Dr. David Cronenberg pitches a major league cinematic no hitter. I have been waiting for "Cosmopolis " to be taken under Cronenberg's microscope since I read Don Dellilo's amazing novel years ago. First it was believed that Eric Packer would be played by Colin Farrell. I guess "Total Recall" was too much to pass up. Elise Shifrin was to be played by Marion Cotillard. When the news came to me that Eric Packer would be played by Robert Pattinson. I sunk and felt that the "Twilight" star had ruined a cinematic dream in the making. Sarah Gadon replacing Cotillard stung as well. I thought the film would in all likelihood end up like a smoked ham. It had all the ingredients of Shia LaBeouf ruining the Wall Street Sequel.
Well Ladies and Gentleman I shall have to eat a great deal of humble pie. Cronenberg broke the yolk wide open and Pattinson delved into the role of Eric Packer. A literary favorite character. Packer is a billionaire who operates his office out of a white long stretch limousine. Packer's limousine is not a typical vehicle. The limousine is corked from sound from the constant noise of New York City. Sound in the feature is noticeable when Packer is talking to his financial analyst at the outset of the film. I cannot think of another film that has made the interior perspective of a vehicle passing through lower Manhattan look like a spaceship odyssey. A viewer should not forget that Cronenberg helmed "Crash". The man knows automobiles and the limousine is no exception. The car operates as an office, bedroom, bar, theory lecture hall, doctor's office, all rolled into one. The security Packer possesses is presidential. Packer has so much wealth at his fingertips it is insane. He is throwing hundreds of millions of dollars at a country whose market is a financial pit. What is the motivation for the car ride? The man simply wants a haircut. Eric Packer is a Gordon Gekko cyborg with a melting computer on his face.
On to the acting Pattinson digs deep into the role. The man who is a tabloid sensation. Honestly I don't care about his romantic life. Ironically because he is on the same level of fame as Brad Pitt he breathes into the exclusive oxygen of Packer so well. When Pattison clears the restaurant for he and his wife you know the guy has had to do this in reality in order to feel at all relaxed. A celebrity of his stature is used to Packer in a limousine similar to a billionaire. An individual who is so used to having so many people come to him. A human who is cut off from reality and loses sense of how to converse with everyday people. When Pattinson gets a pie in the face the thrower states it all "I could have done the President, but I chose you."
Everyone perfoms excellent in the film around Packer. Especially Samatha Morton as his economic theorist,
and Julliette Binoche as Didi Fancher the art collector. Binoche seems to be one of the few characters who can truly joust with Packer. Torval the bodyguard is flawless portrayed by Kevin Durand. Paul Giamatti plays Benno Levin.
Benno Levin's apartment resembles the architecture of true Cronenberg atmosphere. "Existenz" "The Naked Lunch" and cars from "Crash" are all at home in it. The Art direction is truly amazing. Computers, wires, metal filing cabinets, desk lamps, set the tone of a fascinating world.
Congratulations Dr. Cronenberg for breaking Pattinson in two and doing for him what David Lynch did for Naomi Watts in "Mullhollland Drive". You made a defining talent driven performance that will alter Pattinson's professional carreer.
Today the one and only auteur Dr. David Cronenberg pitches a major league cinematic no hitter. I have been waiting for "Cosmopolis " to be taken under Cronenberg's microscope since I read Don Dellilo's amazing novel years ago. First it was believed that Eric Packer would be played by Colin Farrell. I guess "Total Recall" was too much to pass up. Elise Shifrin was to be played by Marion Cotillard. When the news came to me that Eric Packer would be played by Robert Pattinson. I sunk and felt that the "Twilight" star had ruined a cinematic dream in the making. Sarah Gadon replacing Cotillard stung as well. I thought the film would in all likelihood end up like a smoked ham. It had all the ingredients of Shia LaBeouf ruining the Wall Street Sequel.
Well Ladies and Gentleman I shall have to eat a great deal of humble pie. Cronenberg broke the yolk wide open and Pattinson delved into the role of Eric Packer. A literary favorite character. Packer is a billionaire who operates his office out of a white long stretch limousine. Packer's limousine is not a typical vehicle. The limousine is corked from sound from the constant noise of New York City. Sound in the feature is noticeable when Packer is talking to his financial analyst at the outset of the film. I cannot think of another film that has made the interior perspective of a vehicle passing through lower Manhattan look like a spaceship odyssey. A viewer should not forget that Cronenberg helmed "Crash". The man knows automobiles and the limousine is no exception. The car operates as an office, bedroom, bar, theory lecture hall, doctor's office, all rolled into one. The security Packer possesses is presidential. Packer has so much wealth at his fingertips it is insane. He is throwing hundreds of millions of dollars at a country whose market is a financial pit. What is the motivation for the car ride? The man simply wants a haircut. Eric Packer is a Gordon Gekko cyborg with a melting computer on his face.
On to the acting Pattinson digs deep into the role. The man who is a tabloid sensation. Honestly I don't care about his romantic life. Ironically because he is on the same level of fame as Brad Pitt he breathes into the exclusive oxygen of Packer so well. When Pattison clears the restaurant for he and his wife you know the guy has had to do this in reality in order to feel at all relaxed. A celebrity of his stature is used to Packer in a limousine similar to a billionaire. An individual who is so used to having so many people come to him. A human who is cut off from reality and loses sense of how to converse with everyday people. When Pattinson gets a pie in the face the thrower states it all "I could have done the President, but I chose you."
Everyone perfoms excellent in the film around Packer. Especially Samatha Morton as his economic theorist,
and Julliette Binoche as Didi Fancher the art collector. Binoche seems to be one of the few characters who can truly joust with Packer. Torval the bodyguard is flawless portrayed by Kevin Durand. Paul Giamatti plays Benno Levin.
Benno Levin's apartment resembles the architecture of true Cronenberg atmosphere. "Existenz" "The Naked Lunch" and cars from "Crash" are all at home in it. The Art direction is truly amazing. Computers, wires, metal filing cabinets, desk lamps, set the tone of a fascinating world.
Congratulations Dr. Cronenberg for breaking Pattinson in two and doing for him what David Lynch did for Naomi Watts in "Mullhollland Drive". You made a defining talent driven performance that will alter Pattinson's professional carreer.
Tuesday, November 15, 2011
The Summit Cinema Film Festival screens Melancholia
In the opening sequence of Lars Von Trier's Melancholia, Kirsten Dunst is seen in a variety of images. The first 5 minutes of the film is one of the most exsquisitely shot beginnings I have ever seen as a cinephile. Everything is in stop motion. A horse is falling backwards into the ground. Gaingsbourg clutches her son and steps through the golf course. Dunst flails in her wedding dress in a river amongst lily pads. Dunst has lightning bolts streaming from her finger tips. My personal favorite is the image of Dunst in her wedding dress with all of these vines holding her back as she tries to run forward. The entire time these images are being revealed Wagner's Tristan and Isolde sets the musical tone of decadence and depression. These shots are very much like cinematic paintings.
Mr. Lars Von Trier has made a companion piece to Antichrist. In Antichrist he revealed the rage of depression as an outward beast. Gainsbourg yelled, fought, screwed, and inflicted all in an effort to vanquish her depression. The forest in Antichrist was seen as a place of danger where a fox spoke and shouted the words "Chaos Reigns". When the Summit Cinema Film Festival screened Antichrist half the audience walked out midway. Gainbourg's husband played by Defoe was a physiciatrist and extremely scientific, but insensitive and naive.
Von Trier's Melancholia is the sister of this film. Depression is on the menu again, but this time it is all internal. Dunst in contrast to Gainsbourg in Antichrist is extremely subdued. She begins the film ecstacically then slowly sinks into the depths of discontent. Dunst doesn't yell through out the entire film. In describing Dunst's acting she hits all the notes on the piano. She is flawless at depicting someone whom is stuck in depression yet whose eyes and face say it all.
The web created by Von Trier is quite intricate. The first five minutes outline everything to come in the film. The film is broken into two parts the first entitled Justine for Dunst and the second Claire for Gainsbourg. The two are sisters. The location of the film is never revealed. I choose to not give two much away about Melancholia. The film deals with Dunst's wedding and the end of the world simultaneously. Apocalypse and marriage.
Mr. Lars Von Trier has made a companion piece to Antichrist. In Antichrist he revealed the rage of depression as an outward beast. Gainsbourg yelled, fought, screwed, and inflicted all in an effort to vanquish her depression. The forest in Antichrist was seen as a place of danger where a fox spoke and shouted the words "Chaos Reigns". When the Summit Cinema Film Festival screened Antichrist half the audience walked out midway. Gainbourg's husband played by Defoe was a physiciatrist and extremely scientific, but insensitive and naive.
Von Trier's Melancholia is the sister of this film. Depression is on the menu again, but this time it is all internal. Dunst in contrast to Gainsbourg in Antichrist is extremely subdued. She begins the film ecstacically then slowly sinks into the depths of discontent. Dunst doesn't yell through out the entire film. In describing Dunst's acting she hits all the notes on the piano. She is flawless at depicting someone whom is stuck in depression yet whose eyes and face say it all.
The web created by Von Trier is quite intricate. The first five minutes outline everything to come in the film. The film is broken into two parts the first entitled Justine for Dunst and the second Claire for Gainsbourg. The two are sisters. The location of the film is never revealed. I choose to not give two much away about Melancholia. The film deals with Dunst's wedding and the end of the world simultaneously. Apocalypse and marriage.
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