Dynamixor The performances transcend the film's tropes, grounding it in characters that feel more complete than this subgenre often produces.

InformationRap This is one of the few movies I've ever seen where the whole audience broke into spontaneous, loud applause a third of the way in.

Zlatica One of the worst ways to make a cult movie is to set out to make a cult movie.

Juana what a terribly boring film. I'm sorry but this is absolutely not deserving of best picture and will be forgotten quickly. Entertaining and engaging cinema? No. Nothing performances with flat faces and mistaking silence for subtlety.

willsharp-1 I watched this movie in 2018, and it made me really nostalgic. I don't think it was the cinematography--though this may well have contributed heavily to the feeling--or the acting, dialogue, directing, or what have you. I think it was the subject: people's psyches. Our interiors. The 20th century brimmed with art characterized by obsessive navel-gazing; but i'll be damned if its storytellers and artists didn't make that a thing of deep beauty. what a rewarding experience watching this movie was. we're just as messed up today as were these sisters and their mother then, but we don't make anything of beauty about it anymore. today it's all about *the group*. in the 21st century we've gotten over ourselves (not to the benefit of ourselves, certainly: it's looking like, psychologically, people are worse off today than when we obsessed over our inner lives). and this makes for less interesting art, i think.in 2018, interiors is a refreshing, beautiful film. which isn't to say it's flawless. the rape scene seemed like a deleted scene--a mere rape fantasy. if this movie is concerned with the psychological consequences of a divorce on 3 women: well, the voluntary behavior of a vicious male seems to be completely adventitious to that concern. it's not as if the almost-rapist's action is a consequence of the divorce. and neither is it that his action is the consequence of his wife's treatment, where his wife's treatment of him is not implausibly shaped by the divorce. it is the consequence exclusively of his volition. (this is how we talk in 2018, anyway. maybe a further forty years hence, we'll all be ever-inculpable due to what we learn from neuroscience and philosophy. but in 2018 i'll prescind from that possibility.)anyway. beautiful movie with a bizarre, unnecessary rape scene.

Vahid Sohrabi one of the less seen movies of Woody Allen, some sort of strange movie in Woody Allen's career. Film uses elements from Ingmar Bergman the favor director of Woody Allen. Actors and actresses have one of their best performances in this movie. The movie's world is completely tragic and deterministic. Characters are condemned to suffer from their relationships, their life and their interaction with the world. Woody Allen doesn't play himself in this movie but the shadow of his usual components has been kept in the characters. Components such as anxiety distress and etc. Interiors is an unique movie in Woody Allen's career.You have to see it!

Red-Barracuda Immediately after he made his big breakthrough with the Oscar winning Annie Hall (1977), Woody Allen decided to make a film that was anything but a follow-up in the same vein. Instead he made Interiors, which was not only the first of his films that he didn't star in but it was also his first attempt at a drama. It wasn't just a drama though, it was a bleak, serious film with almost no humour to be found anywhere. Needless to say, it was a very divisive film on release but one which has achieved respect with the benefit of hindsight. It is essentially about a dysfunctional family. There are three grown daughters who have a wealthy father and emotionally disturbed mother. The father leaves his mentally unstable wife and it is the fall-out of this decision in which the film takes place. The separation is a catalyst for all manner of insecurities and jealousies rising to the surface.This is a pretty intimate family drama. There are only eight characters in the entire film, aside from the inner family there are two partners of the older daughters and an older woman called Pearl who the father wishes to marry. This is a family of intellectuals, who seem to be very self-absorbed and egotistical. It's only when the unpretentious Pearl comes into their orbit that we in the audience have a true identification figure. Even her clothing marks her out as different, wearing a red dress she contrasts with all the other characters in their drab coloured clothing. She is the only person with real life to her in this gathering and they don't like her for it, dismissing her as a 'vulgarian'. She is a good character and this movie as a whole showcases Allen's ability to write well-rounded female roles. The women drive the piece and all seem realistic, which is part due to the great acting from the entire cast. Admittedly there is some over-written dialogue in here, with some awkward lines that don't ring true but on the whole the writing is mostly good. Stylistically, it's very austere with no musical score to alleviate matters, while the pale colour scheme also emphasises the tone also. Much of the drama takes place in a house by a beach front so we have the roaring ocean waves crashing repeatedly on the shore under a heavy grey sky to add further ominous atmosphere to the dark psychological interactions. On the whole, this is a film that maybe takes a couple of viewings to appreciate and you definitely have to be in the right mood for it. But it's a bold and depressing film from Allen but one with many good things about it.

Hitchcoc Filled with angst and written seriously, I had to put aside my anticipation that at some point a Woody Allen moment would move in. This is an homage to Bergman. The characters are serious in their presences. They are consumed by guilt as they watch their parents move on with their lives. When we see Geraldine Page, suffering, we know why things are as they are. The girls have tried to make their lives go and have run into the depth of despair. At times it seems so maudlin and I can muster no sympathy for their pathetic beings. Throw in the flamboyant Jean Stapleton who adds color to this dirge and by contrast everyone is lost. E. G. Marshall is to be complimented for getting out of this black hole. Still, there is some growth. This sort of set the stage for future "serious" movies, but it is drained of charm, as Allen would use these themes later in better movies. I personally believe had this not been made by Wood Allen, it would have been treated with much less respect by the critics as pretty ordinary and overly artsy.