Louis J. Parker and Dominique Miranda’s short film, Bonnie & Clyde, takes a unique and intriguing angle on the notorious tale of the criminal couple (as portrayed here by the writer-directors), focusing instead on the quiet moments surrounding their more infamous exploits than sensationalizing their actions. Instead of watching them in the criminal act, we’re given glimpses of how they got to this point. And then we’re shown the consequences of their choices.
If there’s one particular element of this film that is standout, it’s the cinematography. The film looks incredible, is well composed and overall gives an epic feel. It’s so good, you wonder if the filmmakers were a little too enamored with it themselves, as the film moves at a slow enough pace that you can admire every shot or, if you’re less inclined, begin to find the experience slightly taxing. Considering the film’s two leads are silent from the jump, and only radio transmissions fill you in on who you’re watching, if you start to tune out the charm, there might be no rescuing you.
But if you do stay engaged, you’re in for a beautiful, though tragic, tale. The presentation of the couple’s history is compelling as rendered here as if it were an old film; an often explored cinematic life given an even more curiously cinematic affectation for the sake of memory.
Ultimately a charming film, with a subdued pace and often quiet presentation, Bonnie & Clyde allows the beauty of an otherwise ugly life to become paramount. It’s the love story, without loud declarations of adoration. It’s the criminals, without massive amounts of crime. It’s the death, more befitting the skewed legend that grew up around the love than the vulgar truth.
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