A patient and observant feature in which the formalism employed methodically allows its primary characterization to unravel, presenting the world of a petty drug lord's girlfriend in meticulous detail. Isabella Eklof's Holiday shows remarkable restraint, a temperament which only pays off in the films climatic final scenes. Employing a lavish aesthetic which evokes the decadence and excess of this lifestyle through use of composition, Holiday counteracts this pristine, luxurious setting with choice of cinematography completely devoid of any close-ups only using wide lenses which exude an experience devoid of intimacy. This visual technique breeds a sense of detachment between the viewer and the main protagonist, one which makes her no less sympathetic but one that makes her internal mechanisms more alluring in their sheltered mystery, as the film explores the life of a woman whose dependency has outgrown her own intrinsic desire for agency. The less you know the better with Isabella Eklof's Holiday, yet what she delivers is a relatively unique thriller which places characterization first and foremost, expertly employing an aesthetic that works to evoke thematic intent throughout the narrative which leads to its memorable denouement in which formalism, characterization, and aesthetic all come together in one cohesive story.
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AuthorLove of all things cinema brought me here. Archives
June 2023
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