Graham Nash, Gone Girls and the Operatic Effect

Having last week seen Gone Girl back-to-back with another (far quieter, far more chilling, far superior) infidelity-noir, The Blue Room, I’ve been thinking a lot about contrasting points of view and conflicts of interpretation. In both these films, the drama is refracted through a he-said-she-said-they-said prism in which every perspective is revealed as partial, cluttered-over […]

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