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.”
“There is an intriguing idea that Arnold weaves throughout ‘Bird,’ one that flows naturally from Bailey’s isolation.”
“‘Anora’ excels by digging beneath the protagonist’s sparkling demeanor while unearthing the grit beneath each sequin.”
“‘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.”
“‘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.”
“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.”
“‘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.”
“While Origin’s conclusion undermines the breadth and depth of its observations, there is much to be admired in the ambitious undertaking.”
“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.”
“Spaeny’s rigidity — especially in the first half of ‘Priscilla’ — is the perfect extension of Coppola’s curiosity regarding space and movement.”
“It is hard to partake in the self-congratulatory tone of She Said’s conclusion.”
“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.”