Singer Haley Reinhart (and former American Idol alum) released her fourth album “Lo-Fi Soul” today. The soulful singer-songwriter brings together a unique perspective to this thirteen track collective.
Haley’s jazzy and often smokey timbre is the highlight on “Lo-Fi Soul” as she runs through the in’s and outs of love and heartbreak. Something we all can relate too, in one way or another. On the gospel-tinged opening track “Deep Water”, the 60s Doo-Wop inspired “Oh Damn”, and “Shook” where Reinhart’s playfulness and sexy appeal are most apparent. Reinhart’s vulnerability on this album goes beyond that. On songs like “Don’t Know How to Love You” and “Crack The Code” she ruminates over a relationship and all of its issues. The album is peppered with musical analogies (i.e. “Lo-Fi Soul”) some of which are cliche, but fitting hence the album title. The album overall is a cohesive piece of work if perhaps a bit sleepy towards the end. Any fans of Haley Reinhart will be thrilled with delight, while she’ll definitely gain new fans and listeners as well.
I am not one that is moved easily and emotionally by watching films. Not to say I don’t love films or I don’t appreciate the craft or technique that goes into making films. From the very first frame of Alfonso Cuarón’s ‘ROMA’ something switched in me. This film was different, a good different and I knew I was in for what would be an emotional journey. Told through harrowing film making, acting, unique and dynamic choices in storytelling and plot line. All of this from the perspective of two domestic workers of a politically charged 1970’s Mexico. Although as the movie progresses the storyline focuses more so on one domestic worker than the other (there’s a reason).
(L to R) Marco Graf as Pepe, Daniela Demesa as Sofi, Yalitza Aparicio as Cleo, Marina De Tavira as Sofia, Diego Cortina Autrey as Toño, Carlos Peralta Jacobson as Paco in Roma, written and directed by Alfonso Cuarón.
Photo by Carlos Somonte
Cléo (played superbly by newcomer Yalitza Aparicio in her first acting role no less!) as a central character shines throughout the movie where a story such as this could get boring or trite. This doesn’t. Yalitza with just the smallest of gestures shows how aptly she ingested this character coupled with brilliant acting from the rest of the cast as well. You feel as if you’re not watching a movie but getting a sacred glimpse into a family’s home. This also holds true to Alfonso Cuarón’s editing style and choice of film. The use of a Kodachrome black and white style make the film have a simple look and feel, akin to a 70s home movie. To a viewer these choices may seem pointless as they are quite minute. Cuarón’s choices no matter how big or small serve us the viewer two major things watching this … To put you into a nostalgic mood and in the perspective of Cléo’s character. In real is a person who often goes nameless and faceless in society. Cuarón by doing so allows the viewer to relate to Cléo the most as we draw empathy for her and her situation with the use of Nostalgia. Cléo represents not only herself but countless others in her position. So Cuarón drew less upon a backstory per se unlike other characters in the film, most notably Sofia, the wife and maternal figure of the family Cléo worked for (who is played by the brilliant, Marina De Tavira). All in all I got exactly what Cuarón was trying to convey across the screen and that’s the goal of a filmmaker. Especially from a film that is so well acted across the board and with so many tiny intricacies you could write a term paper on it. This also was the first film I’ve seen from Alfonso Cuarón so you can bet I will be watching more.
