(…) Arnold leaves us with indelible images ingrained by the camera in much the way Mia might
(…) Arnold leaves us with indelible images ingrained by the camera in much the way Mia might remember them years down the road. A dying fish lying on the grass sucking its last breath, a dog eating the guts of that same fish on the kitchen floor, and a cracked windshield held together by blood and human hair all linger long after they fill the frame. The meticulously placed long shots cementing the viewer’s omniscient perspective of Mia’s transition are even more telling, like when Mia and Connor face each other knee deep in a calm river, or Mia is framed by a background of epic cranes, and finally when two small children traverse through tall grass as storm clouds roll in. In a film about the suffocating stranglehold of barriers and limitations, Arnold cuts wide to hint at the growing possibilities beyond the frame. — [from the review by Glenn Heath Jr.]Fish Tank (2009; dir. Andrea Arnold) -- source link
#fish tank