yves saint laurent bonello critique | bertrand bonello yves yves saint laurent bonello critique Bonello treats Saint Laurent like a vampire, holed up during the day in his sterile white work quarters as he churns out sketch after sketch of fresh designs as if possessed, his drawing hand flicking with the speed and grace of . It includes events such as the exile of Haile Selassie and the conquest of Abyssinia by Benito Mussolini. 1936. January 20: Edward VIII becomes King of the British .
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This film by Bertrand Bonello offers an all-access look into the designer Yves Saint Laurent at work and after-hours with a perspective that is at once intimate and detached. Bonello treats Saint Laurent like a vampire, holed up during the day in his sterile white work quarters as he churns out sketch after sketch of fresh designs as if possessed, his drawing hand flicking with the speed and grace of .
Creation serves as both Yves’s demon and savior: Bonello jumps in time all over the place — even flashing forward to Saint Laurent’s reclusive elderly years — but structurally, .
This film by Bertrand Bonello offers an all-access look into the designer Yves Saint Laurent at work and after-hours with a perspective that is at once intimate and detached. Bonello treats Saint Laurent like a vampire, holed up during the day in his sterile white work quarters as he churns out sketch after sketch of fresh designs as if possessed, his .
Creation serves as both Yves’s demon and savior: Bonello jumps in time all over the place — even flashing forward to Saint Laurent’s reclusive elderly years — but structurally, . Bertrand Bonello's portrait of famed designer Yves Saint Laurent is cannily edited so that the film recalls the designer's impeccably cut styles.
yves Saint Laurent film
Like “Yves Saint Laurent,” Bonello’s film chooses to omit the 1980s and 1990s, similarly climaxing with the triumphant creative comeback of his Moroccan-inspired 1976 .
Bonello has cited the influence of Martin Scorsese’s true-life fictionalisations, particularly Casino (1995), but Saint Laurent lacks the headlong momentum of even of those films’ most sedate .Past, present, and future commingle; a glimpse of Saint Laurent’s childhood pierces the texture of the film, as do visions of the elderly Yves, ruminating in the company of a manservant, .
This heady, sinuous biopic of Yves Saint Laurent (1936–2008), arguably the greatest couturier of the second half of the twentieth century, forgoes the tedious birth-to-death arc found in so .
Homme pétri de contrastes, entre créativité et morbidité, Yves Saint Laurent vit d'amours éperdues et conflictuelles avec Pierre Bergé ou Jacques de Basher et révèle autant .
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Bonello's jigsaw chronology, playful editing and good use of music give 'Saint Laurent' the imaginative edge. However, he also allows his storytelling to wander, drift and become flabby.
This film by Bertrand Bonello offers an all-access look into the designer Yves Saint Laurent at work and after-hours with a perspective that is at once intimate and detached. Bonello treats Saint Laurent like a vampire, holed up during the day in his sterile white work quarters as he churns out sketch after sketch of fresh designs as if possessed, his .
Creation serves as both Yves’s demon and savior: Bonello jumps in time all over the place — even flashing forward to Saint Laurent’s reclusive elderly years — but structurally, . Bertrand Bonello's portrait of famed designer Yves Saint Laurent is cannily edited so that the film recalls the designer's impeccably cut styles.
Like “Yves Saint Laurent,” Bonello’s film chooses to omit the 1980s and 1990s, similarly climaxing with the triumphant creative comeback of his Moroccan-inspired 1976 .Bonello has cited the influence of Martin Scorsese’s true-life fictionalisations, particularly Casino (1995), but Saint Laurent lacks the headlong momentum of even of those films’ most sedate .
Past, present, and future commingle; a glimpse of Saint Laurent’s childhood pierces the texture of the film, as do visions of the elderly Yves, ruminating in the company of a manservant, .This heady, sinuous biopic of Yves Saint Laurent (1936–2008), arguably the greatest couturier of the second half of the twentieth century, forgoes the tedious birth-to-death arc found in so . Homme pétri de contrastes, entre créativité et morbidité, Yves Saint Laurent vit d'amours éperdues et conflictuelles avec Pierre Bergé ou Jacques de Basher et révèle autant .
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yves saint laurent bonello critique|bertrand bonello yves
