I’ll be in my trailer… watching trailers: Thirsty work

Join us every week for a trip into the weird and wonderful world of trailers. Whether it’s the first teaser for the latest instalment in your favourite franchise, an obscure preview for a strange indie darling, whether it’s good, bad, ugly or just plain weird – your favourite pop culture baristas are there to tell you what they think.

Claire Denis’ films may not be for everyone, but earlier this week Matt wrote about seeing her Beau Travail for the first time, and while he bounced off of her most recent film High Life, her drama about French foreign legionnaires pulled him in considerably more.

Julie followed up with a tribute to the late, great Peter Bogdanovich and his underrated 2001 film The Cat’s Meow.

Which takes us to the trailers selected for this week by our baristas at A Damn Fine Cup of Culture. Enjoy!

Mege: I don’t like working from home. There are too many distractions that pull me out of my work routine and into my private life: Oh, look, there’s that book I wanted to read again. And I should do the laundry soon. And I need to buy milk. And let me go to the balcony for just a minute. Nope. I am more productive at the office, and I am more myself at home if my work laptop stays where it belongs. Severance takes that split to its frightening extreme: you voluntarily split your personality into a work self and a private self, and never the twain shall meet. Weeeeell, since this is a show about the psychological pressure of the capitalist treadmill, those selves will spill over into each other and confuse you utterly. Maybe there is a lesson for me somewhere in there. And it’s not about having kind eyes.

Matt: A bit like Mege’s trailer for the week, Kimi, the upcoming thriller by Steven Soderbergh (is he Hollywood’s most industrious director or what?), looks like it could be an episode of Black Mirror. There’s also a touch of Unsane, Soderbergh’s thriller about a woman being involuntarily committed to a mental institution. It’s not one of the Soderbergh films that immediately jumps out as a must-see, but the man usually does interesting things with materials that others turn into more generic fare. I’m not a huge fan of his collaborator, the screenwriter David Koepp, but Soderbergh’s well placed to turn a Koepp script into something a bit more unique. Fingers crossed for this one!

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