Kyz

What a fascinating experience. It started off as a courtroom mystery, developed into a poignant drama and then I started to figure out that it's not about the courtroom or the case at all. The film is largely commenting on emotional truth vs. analytical reasoning; more broadly people vs systems — at no point in the film, is objective truth highlighted or even brought to light. Not because it did not exist, just that it can not be adequately evaluated. It's a broader comment and an unintended critique of the many systems of the world, using judiciary as an example. I don't know how to put it but the idea is that proceedings, laws, records, information and all that stuff cannot truly contain or rationalize the human element — just as how the case proceedings in the film try to construct a marriage story from fragments of memories, recordings, photographs and whatnot. It doesn't matter if you like the version of the prosecutors or the defense, none of them are closer to the objective truth than the other and they must form a narrative to explain what simply cannot be factualized; and that element being the complex human factor of anger, regret, love, relationships — feelings in general. The hook, though, is Daniel. He's the codebreaker, he's why the film works and the system finds an exit loop. In the search for absolute clarity, Daniel compromises for the emotional truth — he **forces **a belief into existence, however painful it may be. Even then, the mother-son duo aren't met with a moral triumph or an emotionally resonating conclusion. No, there's ambiguity, bleakness and melancholy. How do you even feel victorious if you can't know for certain that you've won? Grainly refined writing, doesn't even try to lean into melodrama or theatrics. Stays blunt, precise and grounded, every conversation feels **real**. All the elements of cinematic storytelling; music, dramatic pauses, catharsis, witty remarks, fluid line deliveries are abandoned. In fact, in some sequences even an emotional heart is stripped away till it's bared open with just conversations. Characters are cold, distant, purposeful to the system but most importantly they are not absolutes. There are no antagonists or protagonists — they're just people. Genius filmmaking, in awe of the entire screenplay.

A lesson in making a modern dark comedy. It's so effective in getting the right response, regardless of your political inclination or your sensitivity to certain sharper gags of the film. Loud, unapologetic and brave — *Bottoms* doesn't care if you're offended, it doesn't even bother to try and make you like it — it's not really trying to attract an audience, it knows its audience and it serves. Whimsy, almost cartoonishly illogical world-building; populated with witty, eccentric characters. The story might as well be Gen-Z brainrot but it's the charm in the pointlessness of the narrative elements. It doesn't have to make sense as long as you vibe with it. I think it understands emotions and teenage-hood really well in its own fantastical way. I didn't go into it expecting to like it this much but the jokes and the setup are so piquant. Haven't laughed this much watching an American comedy in a while. Good to know Hollywood still understands how the genre works.

A bottle full of anxiety. Felt it bubble up and overflow for an hour and a half. The writing is so witty, slick and blunt. At every point, the play keeps you guessing and on the edge. There is an incredibly honest moral dilemma, the concept of love and the shattering of it, experience of the whole emotional spectrum, psyche and identity, regret and selfishness — and it deals with these elements quite maturely and in a sharper way than most modern films manage. In hindsight, it's not even that great of a story. But that's what differentiates a good story from a good movie; the utilization of sound, visuals, cuts and non-linearity makes the experience far more potent — just the style of editing is remarkable. Zendaya can actually act, like really *act. *Her filmography never really struck me as that of a great actress, but this is surely her best performance yet. Extremely controlled, mysterious in the right places, expressiveness in just the right amount. Pattinson obviously was fantastic as well and I think their chemistry really worked for the setting but Robert has always been great. I believe this was more of a standout performance from Coleman. Deserves the plaudits.

One of the most rebellious films of all time. Verda has written a bold, unsympathetic and brutal screenplay. The deglamorification of feminism; cold uninspiring cinematography, the bleakness of life, the fragility of relations, the selfishness of human soul. Some amazing concepts unwaveringly laid bare. It's still a **tough **watch at the end of the day. I know it's trying to be but the film gives you very little to hold onto and continue. Not the biggest fan of art cinema making me feel pathetic.