Admiring his central actor, Toni Servillo, I asked Paolo Sorrentino how he directed him in the key brilliance of being both text and subtext simultaneously. Having worked with Servillo before, Sorrentino said, I just tell him, go.
The Canyons offers insight into an all-too-familiar world of boredom and desperation, relationships and compromises, closeness and the abyss that separates us from our lovers. Although I wanted to dislike it, to be "cool" like my fellow critics, I ended up falling in love with the film.
There is ample reason to be interested in The Canyons, the latest Lindsay Lohan film that seems to be on everyone's lips and laptop screens. It's undoubtedly provoking, though often times not for a good reason.
Imagine writer-director Paul Schrader's delight when The New York Times Magazine, the bastion of cultural taste and respectability, called to write a piece about his latest directorial effort, The Canyons.