Rapper and father, narcissist and junkie – Cole is trying to record a new album, but continues slipping into ever-deeper circles of hell in Los Angeles. A spectacular and ruthless portrait of a man at the very top (and at the bottom) and the cruelty of the music industry.
“Taurus” is most interesting as a study of the dysfunctionally toxic but Hollywood-standard relationship between star and aide, with Ilana serving simultaneously as a surrogate mother, sister and babysitter to the incapable Cole — who, even when not high on a veritable cornucopia of substances, has the instincts and attention span of a small toddler. We get little of her backstory, which is both frustrating — every time Ilana drops Cole off at his sheeny, sterile modernist mansion in the Hollywood Hills, we wish we were following her for the rest of the evening instead — and probably appropriate.
‘Taurus’ Review: Machine Gun Kelly Gets His Own ‘Purple Rain,’ But Maddie Hasson Swipes the Spotlight (variety.com)
Born in 1970, Tim Sutton is an independent American director and screenwriter. He teaches at The New School in New York, lives with his family in Brooklyn. He debuted a decade ago with the film Pavilion. He later made Dark Night and Funny Face, which were awarded in Venice, and which we showed in Wrocław. His latest work, Taurus, premiered at this year's Berlinale and, like previous films, is a testament to the director's extraordinary audiovisual sense.
2016 Dark Night
2020 Funny Face