Carol

Of his time-period-hopping contemporaries—the Coens, Tarantino, Linklater—it’s Todd Haynes who uses era most effectively, not merely as a cool framing device or something to subvert with modern language. From Velvet Goldmine’s lurid, woozy ’70s palettes to I’m Not There’s grittiness to, until this, his masterwork Far From Heaven’s lush, painting-like world, he uses era for context and emotion. His characters are […]