Looking Screen 6 articles

Looking

2014

Looking Poster
  • Like Lena Dunham's series [Girls] — and Louie, which the intimate shooting style often evokes — it's mainly about characters struggling to get past their neuroses and self-centeredness and really connect with other people. There's nothing formally or dramatically groundbreaking about it, except for its "no big deal" attitude. But that in itself is striking. It should be counted as progress. That Looking doesn't seem to be terribly concerned with words like progress should count as progress, too.

  • The group sound of Looking might be alienating to people at first because there is no attempt to hold your hand or situate you or give you your bearings here... There might be important information you miss in this episode because it flies right by verbally without any emphasis at all... I officially fell in love with Looking when I heard the name “Frank O’Hara” actually said out loud by one of its characters, though my ardor was cooled by the show’s insistent realism...

  • The moral of these shows is known from the start, that the friend group is the secret blessing, and once those in it accept their obligation to this community, they’ll be supercharged for success and happiness. The comedy is what happens along the way, looking for something that isn’t actually missing, which is obvious to everyone save the show’s characters. The villain is the cultural pathos that makes searching its own metaphysic, more important than engaging with history.

  • The differences between the two series go beyond the surface, and they point to the ways that Haigh and Looking creator Michael Lannan differ from Girls’ Lena Dunham... The editing inLooking is more elliptical and furtive, the pilot opening with the show’s three main characters spending a night out having fun together, the cuts washing between each other, rather than jumping from one scene to the next.

  • This isn’t shaggy, shruggy indie naturalism. This is filmmaking that knows what it’s doing. The final shot of Patrick sauntering toward the camera, aligning himself with Richie, their lined tops glowing in the black light, their smiles feeding off the energy, it’s the culmination of the episode, all that scene-to-scene momentum building to this portrait of uncontainable excitement. It’s a rush.

  • This is what gay desire and gay sex feel like when treated as a part of the lived experience of complicated people: in their incidental matter-of-factness... these moments have a casual, tossed-off quality that seems to respond to Franco’s self-issued challenge [in Interior. Leather Bar.]—this is what it looks and feels like to use (gay) sex as a storytelling tool.

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