I even liked the writing about this film.
Here is a non-exhaustive list of things I dislike about movies: certainty, endings, faithful adaptations, characters saying the name of the movie within the course of the movie, diegetic music, explanations, CGI, and the non-casting of Barry Keoghan in a Barry Keoghan-ass role. Here is a non-exhaustive list of things The Green Knight has going for it: the correct casting of Barry Keoghan, ambiguity, an ever-shifting sense of “reality,” mushrooms, unexplained phenomena (what’s up with the big people?), and an anti-ending. So, a perfect movie for 2021.
David Lowery’s movies make me feel like I’m watching a movie for the first time. All the familiar hallmarks are there, but it never settles into anything resembling a predictable pattern.
I don’t enjoy any other filmmaker so abstract or so self-consciously arty, nor could I entirely articulate Lowery’s purpose in any given scene. Words fail, and that’s part of his power. I’m left with an unmistakable feeling: this was a good trip.
The beauty of Green Knight is that it’s so fully realized on every level — score, cinematography, production design, acting — that even when you don’t know entirely what Lowery is on about you can’t look away. It’s almost as if every individual shot has a narrative arc unto itself. It’s so compelling on a micro level that the “big picture” becomes irrelevant. You stop worrying “what does this mean” and “where is this going” and simply savor the moment, like a creature of pure sensual pleasure. Like I said, mushrooms.