Thematic preoccupations are what make individual filmmakers so intriguing as one steps back to examine certain artist’s entire careers.
A tour group passes behind a kitchen furniture setup. The guide says, “And here we have two dining room chairs and a table.”
Because Carlos is, for the most part, an intellectual achievement rather than a visceral or emotional one, it’s the kind of movie that can be far easier to admire than to love.
The film never leaves France, but it’s implicitly global.
Preserving a judicious silence interrupted by occasional ill-timed bleating on my behalf, part two is super-delicious and crunchy.
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