The show is full of gorgeous, ridiculous sequences like this, scored to lush pop: Douglas Sirk for the age of Botox.
NEWYORKER: Final Cut Pro
2.
Meanwhile employing a camera style reminiscent of that of Fassbinder and Douglas Sirk, his great influence he shows Mildred trapped in a world that is not of her making.
NEWYORKER: This Woman??s Work
3.
With tact and care, the movie digs into all the subjects that lay concealed below the surface when Max Ophuls and Douglas Sirk were filming their own melodramas in the nineteen-fifties.