The bell has been rung, protect your showcased possessions, this glass tower won’t be able to survive the sharpness of it.
Lelio is not remaking but recooking the ingredients. And fortunately, it is as delicious as it was in the first place. Usually people consider the momentum of the previously ridden project- especially remaking it- and end up being vague and superstitious about their content, but not him, not Sebastian Lelio, the director. He is a gentleman, not when he is crafting the tiny aspects- the small talks Julianne Moore makes up in social visits or drive through songs she sings so religiously or how she dutifully attempts to mend the broken patches- of the struggle, women go through but when he puts the men in trial.
Fair is their lexicon and familiar is their behavior. Is he extracting this from somewhere, of course, this definitely seems like a work from a good observer; just as good a storyteller he is. Another notable and impressive armory of his, is how confident and serene he is while making multiple characters confront each other and expect us to be moved by the intensity of it. And it does. With such a stupendous dinner conversation among a family, the pivotal point of the film, lives up to the responsibility of it.
By now, Moore is just taking it easy. A career so spectacular and of such a wide range, she has pulled off a trigger like such before too, but not to this extent. She is punching hard frivolously for a more jarring impact and it works, we, as an audience, gets buzzed for it wolfishly. Lelio’s world is a place where you would wish to reside in, it is hopeful and pragmatic, you get a chance to walk out of things and come back right into it, it is a free world just like ours, in fact it is ours, but not Gloria Bell, I don’t know her but I would surely love to meet her.