London Film Festival Review: Andrea Arnold’s ‘Bird’
“There is an intriguing idea that Arnold weaves throughout ‘Bird,’ one that flows naturally from Bailey’s isolation.”
Anna McKibbin
London Film Festival Review: Sean Baker’s ‘Anora’
“‘Anora’ excels by digging beneath the protagonist’s sparkling demeanor while unearthing the grit beneath each sequin.”
Apocalypse Through the Ages: Reimagining in ‘The End We Start From’
“‘The End We Start From’ is a contained version of the violent, end-of-world tales we have grown accustomed to. In its quiet examination of a woman’s journey to motherhood, the questions that surround the subject are writ large on the story.”
London Film Festival Review: Mahalia Belo’s ‘The End We Start From’
“‘The End We Start From’ falls short of being a meaningful observation on the perils of climate injustice, but the film succeeds as an embodiment of maternal commitment, largely due to Comer’s wonderfully present performance.”
London Film Festival Review: Anh Hung Tran’s ‘The Taste of Things’
“There is no one better at channelling the multi-faceted force of joy than Binoche, whose entrancing performance grounds ‘The Taste of Things’ in its gentle tragedy.”
London Film Festival Review: Radu Jude’s ‘Do Not Expect Too Much of the End of the World’
“‘Do Not Expect Too Much of the End of the World’ is a jolt of energy, one that bounds forward — always a few leaps ahead of its audience.”
Venice Film Festival Review: Ava DuVernay’s ‘Origin’
“While Origin’s conclusion undermines the breadth and depth of its observations, there is much to be admired in the ambitious undertaking.”
Venice Film Festival Review: Ryûsuke Hamaguchi’s ‘Evil Does Not Exist’
“The tension between all these figures prompts a sudden and ferocious outpouring that will cement ‘Evil Does Not Exist’ as one of the most quietly stirring films of the year.”
Venice Film Festival Review: Sofia Coppola’s ‘Priscilla’
“Spaeny’s rigidity — especially in the first half of ‘Priscilla’ — is the perfect extension of Coppola’s curiosity regarding space and movement.”
London Film Festival Review: Maria Schrader’s ‘She Said’
“It is hard to partake in the self-congratulatory tone of She Said’s conclusion.”
London Film Festival Review: Georgia Oakley’s ‘Blue Jean’
“Oakley constructs a landscape in ‘Blue Jean’ that responds to the cruelty of real society with a stark generosity. As a result, the audience is invited to sympathize with as many characters as possible.”