INSTALIFE, portrait, pop, and dangerous a social-addict – Review

In a black comedy sparkling, Matt Spicer with Instalife gaze shifted to the excesses of social networks. A subject property operated in your singular, but promises kept are light.

Ingrid is, shall we say, a little happy in his life. So she is looking for new Héloïse, instagrameuses who make it exist by proxy. And dissatisfaction is not a good combination with the Internet… The duo of actresses is fairly amazing, two caricatures who cling to one another to fill their need for recognition respective. Aubrey Plaza plays his strangeness natural with brillo, reflection neurotic tendency tenderizing. But if both claim the glitter, the charter of sight is fairly simple, in contrast to the neon lights of Ibiza as the posters promised. Natural light are those highlighted in the photos the social, then the frame is flooded. Moreover, many of the stills could be a posts popular on Instagram, all adopt an attitude that is perpetually in the pose. The original title, “Ingrid goes West“, restores to the reverse movement of this crossing of the desert, the departure of a young girl lost to a new horizon.The satire is biting, objective. The scenes alternate effectively between different emotions in the hearts of the audience, some times really funny, and others deeply embarrassing. Here to be, it is necessary to live in the illusion, that this is spying on a person, or lying to thousands. The whole question is finally not even so much a question of the reality of life and fiction but rather one of honesty. If not for his side stalker, we can only withdraw to the heroin, a total surrender of itself in the role it plays. She invests herself, her own way is twisted, sincere in the relationship with his idol. It has as much read The deer park that Ingrid the civil code. There is no real place for love, unless it succumbs totally to the fantasy.Everything works pretty well, as the rants about the big bad net are worn, and the filmmaker is well aware of it. It is filled with ideas, the time of the meeting or a supporting role to allow him to gravitate toward worries the actual with malice. It does not however seem to provide the means of his ambition, and he was attached to the surface : a single plane on one eye fool is a success striking, the following ten are trivial. It remains, however, in this normality is always the feeling that what takes place is rather captivating, and might be closer than it seems. It does not judge absolutely not the generation he portrays, and raises questions in a new way, enjoyable even : ubiquitous media takes a hit. In sum, the film at first sight looks like so many other feature-length films between the thriller and the teen movie, it gets lost in the mass consensual images without audacity. Yet it is very quickly clear that it has more flavour, that knows how to do well, even if the originality that he exhibits a lack of brilliance and risk. It is one of those difficult to classify, these fun times, of which one retains a vague wave of joy but fade quickly. You come out motivated, with the impression of a refreshing having watched something good, without being fully satisfied. The idea is exciting, its return is less ; all in the film seek to define what is cool, well he is himself. No more.

Manon

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