Marty Supreme
Marty Supreme, a vessel for Timothée Chalamet to flex his development as an actor over the past decade. An undeniable force both on and off the screen. An outlandish performance energised by his unfiltered swagger. Playing a character, in Marty Mauser, that is undeniably self-centred and indulgent, wired to the point it almost becomes off-putting to watch. Yet, Chalamet somehow manages to play the role with a level of genuine sincerity. An obsessed performer that is doomed from the start, the crowning work of his career to date.
The inventive title card of Marty Supreme, sets the tone for what follows in the remaining runtime. Transitioning from a lively sex scene into a visual depiction of sperm racing up a vaginal canal to fertilise an egg. An absurd, outlandish idea that sets the tone for the rest of the runtime. Relentless, high-octane filmmaking that elicits an uncomfortable experience from the get-go.
In spite of the frantic approach to Marty Supreme, Darius Khondji manages to shoot the film with an air of warmth. Drawing visual inspiration from Donald E. Thorin's cinematography on Thief, swapping a heavily-lit Chicago for animated New York streets. It's impossible to take your eyes away from the screen.
An enthralling tone matched by Daniel Lopatin's exhilarating score. A sprawling combination of synth and woodwind composition creating a sort of whimsy and joy that opposes the visual narrative. Audibly in keeping with the dystopian sci-fi worlds brought to life in Blade Runner or Tron, despite backdropping hectic games of ping pong. With Lopatin also taking inspiration from Elliot Goldenthal's discography in an effort to capture the essence of cool. Accompanied by an eclectic soundtrack featuring Alphaville, Peter Gabriel, New Order and Tears for Fears.
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