#123movies #fmovies #putlocker #gomovies #solarmovie #soap2day Watch Full Movie Online Free – A fable of innocence: thirteen-year-old Aviva Victor wants to be a ‘mom’. She does all she can to make this happen, and comes very close to succeeding, but in the end her plan is thwarted by her sensible parents. So she runs away, still determined to get pregnant one way or another, but instead finds herself lost in another world, a less sensible one, perhaps, but one pregnant itself with all sorts of strange possibility. She takes a road trip from the suburbs of New Jersey, through Ohio to the plains of Kansas and back. Like so many trips, this one is round-trip, and it’s hard to say in the end if she can ever be quite the same again, or if she can ever be anything but the same again.
Plot: Aviva is thirteen, awkward and sensitive. Her mother Joyce is warm and loving, as is her father, Steve, a regular guy who does have a fierce temper from time to time. The film revolves around her family, friends and neighbors.
Smart Tags: #multiple_actors_for_one_character #f_word #pedophilia #sunlight #toilet #reference_to_’nsync #13_year_old_girl #13_year_old #teenage_girl_as_protagonist #teenage_protagonist #teenager #suburb #kansas #new_jersey #misanthrope #misanthropy #female_protagonist #writer_director #written_by_director #watching_pornography #magical_realism
|6.7/10 Votes: 12,085|
|6.3 Votes: 112 Popularity: 12.987|
Things You Can Tell By Just Looking At Her
I admit, I liked the idea of this. The story is completely a waste for me, even though we all like to poke cheap fun at sanctimonious fundamentalists as the ironic representative of a flawed designer.
What’s at the core here is the device of portraying our 13 year old girl by a variety of beings. I liked it when I saw it elsewhere, especially the implicit merger of being in the work of Garcia. Is it worth it for this actorly circumlocution alone? Probably yes, because of the way it is handled. The character, like all real ones, is a blur, a manifold being. We never see people anyway, only our models of them. So to break the wall and see many models is a sort of intimacy. Its not a gimmick, but a device that works.
And that’s why we come. For something that goes deeper.
I wish, though, that Solandz was a bit deeper as a person. Medem goes deeper on this ambiguous identity thing. Several Tilda Swinton projects like “Conceiving Ada” or “Female Perversions” go deeper into the knots of birth urge.
Like so many other theatrical experiments, one wishes the technician would meet and marry the emotional explorer. Not work with, not have a relationship with, but marry and coabsorb. Embodiment of futures.
Ted’s Evaluation — 3 of 3: Worth watching.
One of Solondz’ best
Having seen most of Solondz’ films (including the tepid Storytelling and the frankly unfortunate Life During Wartime), I think Palindromes may be his second finest, after Happiness. It isn’t as funny as Happiness, but it is also less judgmental of Western humanity than that film (a good or bad thing, depending on your perspective), and has plenty of other things going for it besides.
Just about all I knew about Palindromes going in was that it was to some degree based on or inspired by Solondz’ best-known film, Welcome to the Dollhouse. Unlike his more recent Life During Wartime, which fails because it tries (unconvincingly) to make too many various direct connections to its “prequel” Happiness, Palindromes is much less literal or obvious in those connections. Despite the occasional character reference to / recurrence from Dollhouse, it succeeds as an entirely separate and independent work, and one that I personally find much more sophisticated and interesting than the original that semi-inspired it.
Unlike most of the IMDb reviewers here, I was also totally unaware of the “multiple Avivas” device going into the movie. Quite late in the film, once Solondz starts alternating his various Avivas within the same “chapter,” I finally realized the multiple actresses playing Aviva were all intended to be representations of *the same character*. To that point, I’d viewed them as separate but effectively interchangeable characters simply sharing the same name, along with a handful of obvious motivations and personal connections (even the fact that they wore the same outfits didn’t throw me a clue; I figured it was just an attempt at semi-opaque metaphor, or maybe just an interesting way of improving continuity).
I felt pretty dumb about this when I got it all sorted, but perhaps I had been biased going in by the more disconnected vignettes that comprise Solondz’ prior effort, the questionably uneven Storytelling. I ultimately think it was a good thing anyway, as it allowed me to experience additional layers of possible meaning that I know I would not have experienced had I known the full story throughout the film.
Palindromes is much less about black humor than Solondz’ ’90s films, but it’s not to say there aren’t quite a few flinch-worthy funny moments. By far, the hardest stretch to sit through– but also the most entertaining– is the long chunk of Palindromes that takes place at the Sunshines’ compound for disabled, brainwashed children. This interminable but wonderful chapter has some of the funniest / skin-crawlingest scenes involving kids that have ever been laid to non-documentary film (upping the ante, without the humor: the real kids interviewed in Jesus Camp).
Mostly, Palindromes is a semi-realistic and touching art film about teen identity and sexuality, thankfully without the creepy quasi-pedo voyeurism of Larry Clark. There are plenty of moments where you’ll find yourself shaking your head and saying “no” under your breath, but unless you live in the kind of permanent state of denial that would find you rooting for the likes of the Sunshine “family,” it’s an eminently watchable and moving film with an interesting and well-crafted linear narrative that comes together at just the right time.
Palindromes deserves to be seen by more people, and I can see it being much more broad in its mainstream appeal than much of Solondz’ earlier work. I really hope Solondz can find his way back to making films like this and Happiness in his future filmmaking.
Original Language en
Runtime 1 hr 40 min (100 min)
Rated Not Rated
Genre Comedy, Drama
Director Todd Solondz
Writer Todd Solondz
Actors Matthew Faber, Angela Pietropinto, Bill Buell, Emani Sledge
Awards 3 nominations.
Production Company Extra Large Pictures
Sound Mix Dolby Digital
Aspect Ratio 1.85 : 1
Film Length N/A
Negative Format 35 mm
Cinematographic Process Spherical
Printed Film Format 35 mm