Susan Morrow, owner of a prestigious art gallery, receives a manuscript by her husband from which the separate nineteen and a removed that irrepressibly from the pages of his novel. A thriller advancing the horizon dish of Texas and in one night ever so black and deep. One night that captures Susan and nails to her bed, behind glasses and a life of appearances. Susan because many years before he divorced to marry cruelly by Edward Walker, who can not stand the failures and cheating on the East Coast, because Susan lives a life that slips apathetic on the surface of the works that exposes. But nothing is more real now than it consumes pages with eyes, he plays with his heart, reorganizes in the head, along the time and the story of her marriage.
marital thriller in contemporary art frame and critics ‘murder mystery’ to the dictatorship of appearances, nocturnal animals is a cruel parable about marriage. A wedding thrown in the face of a woman that leads to consciousness the pain inflicted on the spouse. An ex-husband who finds his revenge on the page, mediating with the art of mourning and loss. If art ‘staged’ by Susan is an icon of itself, devoid of intrinsic meaning and reduced machine to formalize dissent and produce pseudo-philosophies and pseudo-aesthetic, that practiced by Edward reassembles a hardship and care , finding the raw material and lava experience suffered a new text-based organization. Delivering to the genre, the thriller, his existential trajectory, the protagonist and author transform into art-made facts and experience the calculated mediation of literary language (Edward) and film (Ford).
In the manner of Edward, Tom Ford sublimates the formless dimension of experience in the miracle of a work that conceals the horror along the lines clear, inside the fluid succession of plans and silky elegance of his protagonist. Like Edward, still, the director orchestra his black thriller with the meticulousness of a couturier, sewing with the crime and the romantic illusion survey stana the culprits and redistributes cards and roles in a swing of straight and waste that pass all for a ‘center’ of view. The Susan look that proceeds backwards behind a pair of Tom Ford sunglasses, derailing the movie on real and of an America factory monsters. Of that society sequence flesh and opening trash returns the disturbing extent, the excess, pornography and extreme plasticity limit of a living form. But the disfigurement is adjusted rapidly in the figuration: the exhibition of the meat takes progressive transfiguration of private experience that creates guidelines for participation and discourages the voyeuristic viewer.
In the scissors, gliding over the narrative fabric, defining Tom Ford, emperor of luxury marketing, king of one exuberant chic who knows when to remove an accessory, dampen a lipstick and increase his empathy capital after A Single Man, his first bijou of emotion. fashion designer and forms, able to develop a coherent universe on the screen as on the catwalk, his films are revealed in detail, evoking the rigid geometry Hitchcock, celebrating the construction tense of his work and leaving it in a sensitive film to the plastic quality of images and the female mask, in which lurks an animal cruelty. Adaptation of postmodern noir Austin Wright ( “Tony & Susan”) and writing vertigo that fastens author and reader, Night Animals swallows Amy Adams in the framed story and produces the greater story his double murder. Revenge is served with a nighttime abduction initiating an investigation and reconstruction of a painful existential man hidden behind the professional framework. In turn Susan, sphinx infinitely (between) dressed, questions the nature of Edward, narrator who becomes hero of a book and an other force, romantic, creative, performative and incompatible with its tendency to intellectualize everything to avoid taking action, organizing its existence on a principle of survival perfectly selfish. It perfectly dressed. Another way down to fight against his own mediocrity. The way a la Tom Ford fashions.