Tag: Kirsten Dunst

Retrospective Review: Eternal Sunshine of the Spotless Mind

ove is messy. Life is even messier. Sometimes the hurt is too much. There are moments, after watching this film, where I wonder, would I want to forget? Would you? It would sure be easier. Or is it? In the case of Joel and Clementine, in the "Eternal Sunshine of the Spotless Mind" (2004) nothing is simple, everything is messy, but ultimately (despite its surreal- dream-like sequences) it is also an honest appraisal of love in its many forms.

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Best Actress of the Decade, Entry No. 26: Kirsten Dunst

To celebrate the last decade 2010-2019 we are counting down the best actresses and discussing some of their most notable and memorable performances of the last decade. With the help of Film Twitter, the ITOL team have selected 30 actresses. Entry No. 26 is Kirsten Dunst, and writer Bee Garner discusses her favourite performance by Dunst over the last decade.

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Retrospective Review: Little Women

Watching “Little Women” (1994) is sort of like coming home. Regardless of the period (1868 I believe) or place, the film reinstates a level of comfort felt when I saw the movie as a child. How I perceived the movie changed as I grew older, but watching it was a yearly viewing for me. Another tether? I felt innately like Jo (Winona Ryder), trying to find my own truth, regardless of societal or gender constraints, and just wanting to write. Gillian Armstrong’s 1994 film that adapts Louisa May Alcott’s novel, portrays the March family, especially the four March girls, in a way that’s maintained credibility and resonance over the years. The adaptation is loyal in the sense that these characters are portrayed with the same warmth as they are read.

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ITOL Top 50 Films of the Decade, Entry No. 46: The Beguiled

Sofia Coppola’s American Southern Gothic film, “The Beguiled” (2017), is an atmospheric drama that takes place at a girls’ school in Virginia in 1864. The American Civil War rages around the house, ever-present despite the lack of action. The film features a trio of talented blonde women -- Nicole Kidman, Kirsten Dunst, and Elle Fanning -- in addition to Colin Farrell. While it’s not the masterpiece that some of Coppola’s other films like “Marie Antoinette” (2006) or “The Virgin Suicides” (1999) are, it’s a moving and aesthetically beautiful portrait of women in wartime.

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