
WEIGHT: 60 kg
Bust: 36
1 HOUR:130$
NIGHT: +100$
Services: Striptease, Massage classic, Striptease, Cross Dressing, Oral
They make even clearer what his features have long shown: Anderson is one of the two most original inventors of cinematic forms since the heyday of the late Jean-Luc Godard. The other is the late Iranian director Abbas Kiarostami. Where Kiarostami undermined the artifices of fiction with documentary elements, Anderson overmines fiction by overloading it with intricate artifices that nonetheless have a quasi-documentary aspect—in that they reveal the contrivances on which filmed fictions depend.
Since then, Anderson—with an even keener awareness of directorial power—has endowed his live-action features with ever more reflexive narrative framing devices, which make the telling of stories the subject of his stories. Though the four films have widely varied subjects, Anderson approaches them all similarly: they are giddy cinematic experiments that take the concept of storytelling daringly literally.
Dahl himself comes in as a character, too, played by Ralph Fiennes. The four stories are, essentially, dramatized audiobooks, something like music videos for literature. The characters deliver their narration into the camera, addressing viewers head on, and then, with deft timing and theatrical precision, turn their heads or even just shift their eyes to address one another. Rear-screen projections abound—and Anderson shows the borders of the rear screen, making manifest the trickery involved.
Here he stands that notion on its head; he never breaks the framework of classically realistic drama because he never establishes it in the first place.
It is not a question of characters breaking the action to address the camera but the reverse, and, for this reason, the direct address comes off as natural and central, and the acted-out drama as strange and supplementary. Anderson relies on methods of direct, candid, ultimately appalled narration to deliver—as if in his own voice—large-scale tales of empire, extraction, and appropriation, local ones of brutality and hatred and ambient horror.