
Sign up to save your podcasts
Or


More than anything, the nightmares are what we still can't quite figure out. Perhaps the most powerful scene in "Longlegs" begins with a flashback that is structured like a family room projector showing someone's home movie on Afdah. A young girl steps out of the secluded residence where a car has pulled up. Perkins starts experimenting with perspective right away, giving us a child's point of view on the interaction in addition to confining us inside the little frame. A picture of Hillary on the wall of the FBI Director's office serves as a time marker, but much of the production design appears much older than that era, again producing a dream-logic gap. Cut to years later, sometimes in an exaggerated '90s, where new agent Lee Harker arrives.
By afdahtvMore than anything, the nightmares are what we still can't quite figure out. Perhaps the most powerful scene in "Longlegs" begins with a flashback that is structured like a family room projector showing someone's home movie on Afdah. A young girl steps out of the secluded residence where a car has pulled up. Perkins starts experimenting with perspective right away, giving us a child's point of view on the interaction in addition to confining us inside the little frame. A picture of Hillary on the wall of the FBI Director's office serves as a time marker, but much of the production design appears much older than that era, again producing a dream-logic gap. Cut to years later, sometimes in an exaggerated '90s, where new agent Lee Harker arrives.