Di, 15/01/2019 - 17:02
Wenn du Beautiful Boy mochtest, dann gefallen dir auch... Wie stellt man Sucht auf der Leinwand ist? Handelt es sichs doch um so eine heimtückische, innere Krankheit? Am Ende erleben wir doch immer nur den körperlichen Verfall, was oft zu filmischen Klischees verleitet. Diese bekannten Schrecken erspart uns Felix Van Groeningen in Beautiful Boy zum Glück. Anlass für mich in unserem Video Keller der Filmkunstbar Fitzcarraldo nach weiteren Drogen-Filmen zu suchen, die ohne Stereotypen auskommen. - If you liked Beautiful Boy, you also like... How do you put addiction on the big screen? Is it such an insidious, inner illness? In the end we only experience physical decay, which often leads to cinematic clichés. Felix Van Groeningen saves us from these familiar horrors in Beautiful Boy. This is the reason for me to look for more drug movies without stereotypes in our video Keller der Filmkunstbar Fitzcarraldo.
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Do, 28/02/2019 - 09:49
Beautiful Boy
This harrowing tale, based on the memoirs of David (Steve Carell) and Nic Sheff (Timothee Chamalet), depicts the loving yet tumultuous father-son relationship throughout Nic’s battle with drug addiction.
Both Carell and Chamalet earnestly portray what can only be described as a rollercoaster of a journey, mimicking the cyclical nature of relapse and recovery. David’s attempts at reclaiming his son (emotionally and physically), are barricaded by Nic’s inevitable “growing up”. Nic on the other hand is an inherently introverted and creative type, who is set on pursuing his own path. As he discovers harder drugs, we see his relationships deteriorate, including the ever-so-close one with his father.
While the actors performances do not fall anything short of emotional, the overall narrative rings cliched and over-simplified at times. Nic’s love-affair with drugs is an honest depiction of the emotional and physical turmoil that is addiction. Yet the film lacks subtlety and nuance at time. And while not to discredit anyone’s personal journey with addiction, regardless of age, class, sex, race, etc. the film dances around the fact that a large portion of Nic’s recovery is owed to the fact that he is supported in an upper-middle class environment. Though he may choose not to live with his parents and enter state-of-the-art treatment facilities, he has the availability and option to do so. In this sense, Nic’s privilege, and the fact that he is a “beautiful boy”, inflict perhaps conflicting opinions of him: a charming young, straight-white-male who is unbearably spoiled by his circumstance. That being said, this is not to discredit any of his (or anyone’s) journey with an addictive disease, only to say that the moral of the story seems to ring “you can be saved if you have the means and environment to do so”.
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