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Phantom thread

The movie is about the battle in which our great leader Tito and his partisans outwitted the Germans and their local collaborators, crossing the river Neretva to escape encirclement. Afterward, Tito declared the representation of the great battle very realistic. But I saw the film at Kino Arena, the movie theatre next door to our apartment building, in Sarajevo. My parents apparently believed that Yugoslav pride would protect me; it was the first movie I ever saw all by myself. It was glorious. On the wide screen, the battle was as real as could be; the thunder of German artillery shelling the refugees went right through my chest; and when the freedom-loving people sang in defiance, I was proud to be a Yugoslav boy. I wept, too, and subsequently developed a postmortem crush on Dana. Back then, I was the perfect moviegoer. Much of the power of cinema is in this visual stimulation, which overwhelms the mind with emotion, forcing the viewer to suspend judgment. This is why all the ideologically committed regimes—the Nazis, the Soviets, the Yugoslavs—have been willing to invest in film production.
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It is morning, and his sister Cyril Lesley Manville , who helps to run the business, is at the breakfast table, as is a plate of iced buns, which he disdains, and an elegant young woman named Johanna Camilla Rutherford. For her, likewise, he appears to have lost his appetite.
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Travelling or based outside United States? Video availability outside of United States varies. Sign in to see videos available to you. Rentals include 30 days to start watching this video and 48 hours to finish once started. Close Menu. A renowned dressmaker Daniel Day-Lewis finds his carefully tailored life disrupted when a strong-willed woman becomes his muse and lover. Directed by Paul Thomas Anderson. More purchase options. By ordering or viewing, you agree to our Terms. Sold by Amazon.
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Forgot your password? Don't have an account? Sign up here. Already have an account? Log in here. By creating an account, you agree to the Privacy Policy and the Terms and Policies , and to receive email from Rotten Tomatoes and Fandango. Please enter your email address and we will email you a new password. We want to hear what you have to say but need to verify your account. Just leave us a message here and we will work on getting you verified. Phantom Thread 's finely woven narrative is filled out nicely by humor, intoxicating romantic tension, and yet another impressively committed performance from Daniel Day-Lewis.
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The movie is about the battle in which our great leader Tito and his partisans outwitted the Germans and their local collaborators, crossing the river Neretva to escape encirclement. Afterward, Tito declared the representation of the great battle very realistic. But I saw the film at Kino Arena, the movie theatre next door to our apartment building, in Sarajevo. My parents apparently believed that Yugoslav pride would protect me; it was the first movie I ever saw all by myself.

It was glorious. On the wide screen, the battle was as real as could be; the thunder of German artillery shelling the refugees went right through my chest; and when the freedom-loving people sang in defiance, I was proud to be a Yugoslav boy.

I wept, too, and subsequently developed a postmortem crush on Dana. Back then, I was the perfect moviegoer. Much of the power of cinema is in this visual stimulation, which overwhelms the mind with emotion, forcing the viewer to suspend judgment. This is why all the ideologically committed regimes—the Nazis, the Soviets, the Yugoslavs—have been willing to invest in film production. Still, one would imagine that American auteur cinema, rooted in private enterprise and inherently antithetical to groupthink, is the opposite of propaganda, which by its very nature always projects and endorses the structures of power.

Among them, Alma distinguishes herself by refusing to be used and discarded by the couturier. But, for all her relative agency, she exists only within the world of Woodcock.

We have no idea who she was before entering it, where she might have come from, or what she might have wanted from her life. Soon after she meets Woodcock, he measures her for a dress. When she discovers her function—to feed the hunger, if perversely—love reigns eternal.

Like Woodcock, he gives meaning to everything and everyone lucky enough to be inside his domain. And, like Woodcock, Anderson creates sumptuously crafted artifacts, inside of which cryptic messages about himself—phantom threads—are stitched. If they do, they might at least be challenged and criticized in the forum of public opinion. Owen Gleiberman of Variety was a notable exception. Nor were they concerned that, in stark contrast with the Englishman upon whom the mighty House of Woodcock is built, Alma has no past nor origin of her own.

Personal as it may be, the film is about a male genius so supreme that it can choose even when and how to be weakened in the presence of a woman, who, in exchange for monogamy, is ever willing to serve it. Disguised as art-house cinema, the film spectacularly endorses the inherent genius of masculinity. Will be used in accordance with our Privacy Policy. By Helen Rosne r. By Anthony Lan e. A look at the nominees for best picture at the Oscars through the decades.

The New Yorker Recommends What our staff is reading, watching, and listening to each week. Read More. Annals of Gastronomy. The Current Cinema.



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