Swinton(...)seized upon Orlando as an opportunity "to really examine this thing of not acting at all, and being in front of the camera in a variety of shapes and sizes, but with contact with the audience, through the prism of the lens."
Indeed, time and again, Swinton's Orlando looks straight into our eyes—not unlike Jim on The Office—bemused by the chaos of centuries surrounding her.
But it's not just Swinton's performances—first as a nobleman, then as a woman, then as a lover, then as a mother—that drives the film. Orlando is a movie deeply fascinated by performance, and so over and over again, we see characters putting on shows.
Indeed, time and again, Swinton's Orlando looks straight into our eyes—not unlike Jim on The Office—bemused by the chaos of centuries surrounding her.
But it's not just Swinton's performances—first as a nobleman, then as a woman, then as a lover, then as a mother—that drives the film. Orlando is a movie deeply fascinated by performance, and so over and over again, we see characters putting on shows.
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