Trawling through Film Twitter, it was a surprise to see one particular reviewer suggest they had been informed that Velvet Buzzsaw was a cross between The Neon Demon and Nocturnal Animals. That is lending Dan Gilroy’s picture more praise than, frankly, it deserves.
In some respects, they are all bedfellows, certainly when it comes to the visual juxtaposition of horror, sex and art. Gilroy’s film lacks, however, the operatic eeriness of Nocturnal Animals or the visually arresting palette of Nicolas Winding Refn’s (admittedly somewhat overhyped) The Neon Demon. What they all share is a critique of the world of art and performance, with Velvet Buzzsaw particularly taking a sideswipe at the critique of art critique itself. Gilroy isn’t unloading death wish fulfilment on the creators, rather those who profit *from* artistic creation; critics, gallery owners and agents, all more interested in fame and fortune than what the art *means*.Continue reading “Velvet Buzzsaw (2019)”