Drive

Watched Drive some time back. Amazing. It's my kind of film: sparse, poetic, consistently poignant. It's hard to convey poignancy without being icky. That's where Drive's sparseness really helps. As John Lui of The Straits Times wrote:

You know you are in the presence of a director of great talent when he can show a man and a woman throwing furtive glances at each other in a lift, and in a few seconds, without the use of dialogue or tinkly piano or pensive folk-rock background music, it is clear to the audience that they have fallen madly in love with each other.

It has been said that film is a director's medium and here Drive is proof. Its most affecting scenes, such as the one in the lift, have little or no dialogue. They involve little more than good acting and putting the camera in the right place to catch it.

I prefer sparse ontologies in Philosophy too.