Safe
Drama • R • 1995 • 1 hr 59 min
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A movie about depression and hitting rock bottom. The question remains: Can you pull yourself out of the pit? Artfully directed.
the obsession for filling of an existential void. the sickness of modern city stagnation. the desire for ultimate sanitation. you want out?
Strange and scary in a really great way. Great main character too
Just from the opening scene theme and amazing music I knew this one would be very special.
Safe begins like a neo-noir flick and unfolds at something unexpected. Could be interpreted in many ways.
It's a slow horror as there's always something that feels off and you never feel completely safe.
Mood piece hinges on Todd Haynes’ atmospheric direction and Julianne Moore’s layered performance. It worked for me.
Meticulous, muted look at suburban white femininity and the nefarious cult of New Age Medicine
Probably worth a rewatch since I was not in a place to appreciate Moore's performance, the plot, or Haynes' direction when this came out.
Wasn’t a fan of the pacing in this one.
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After her husband dies, Alice and her son, Tommy, leave their small New Mexico town for California, where Alice hopes to make a new life for herself as a singer. Money problems force them to settle in Arizona instead, where Alice takes a job as waitress in a small diner.
A philistine in the art film business, Jeremy Prokosch is a producer unhappy with the work of his director. Prokosch has hired Fritz Lang to direct an adaptation of "The Odyssey," but when it seems that the legendary filmmaker is making a picture destined to bomb at the box office, he brings in a screenwriter to energize the script. The professional intersects with the personal when a rift develops between the writer and his wife.
As Agnes slowly dies of cancer, her sisters are so deeply immersed in their own psychic pains that they can't offer her the support she needs. Maria is wracked with guilt at her husband's attempted suicide, caused by his discovery of her extramarital affair. The self-loathing, suicidal Karin seems to regard her sister with revulsion. Only Anna, the deeply religious maid who lost her young child, seems able to offer Agnes solace and empathy.
