Trapped in the Bed Frame: On Marco Bellocchio’s ‘Devil in the Flesh’
“Bellocchio’s 1986 film ‘Devil in the Flesh’ is perfectly representative of the great Italian director’s outlook.”
Ben Flanagan
‘Gauguin’ and ‘Guernica’: Alain Resnais Comes Unstuck
“If ‘Gauguin’ and ‘Guernica’ shine a light on their respective subjects, they also present a key part of Resnais’ own development as an artist.”
Review: Stephen Kijak’s ‘Shoplifters of the World’
“‘Shoplifters of the World’ seems more affectionate to 2000s conceptions of 1980s nostalgia than to the thing itself.”
Review: Predrag Antonijevic’s ‘Dara of Jasenovac’
“Where Pier Paolo Pasolini pushed the obscenity of fascism to levels that go beyond cinema, to something further back into the subconscious history of art and complicity in aesthetics of evil, ‘Dara of Jasenovac’ merely rubs the audience’s noses in misery.”
IFFR Review: Hung-I Chen and Muni Wei’s ‘As We Like It’
“The gender-fluid quality of ‘As We Like It’ fits with a future digital landscape that moves beyond binaries, and also with Shakespeare’s own casual approach to the ‘Men Are from Mars, Women Are from Venus’ comedy sub-genre.”
IFFR Review: Anders Thomas Jensen’s ‘Riders of Justice’
“The art of the hangout movie lives…”
The Borders of Film Noir: Genre in Takeshi Nomura’s ‘A Colt Is My Passport’
“‘A Colt Is My Passport’ represents a supreme tension between American and Japanese Noir, and asks questions about the past and future of international cinema.”
Review: Conor Allyn’s ‘No Man’s Land’
“‘No Man’s Land,’ Conor Allyn’s earthy effort at a serious revisionist western, is a film of good intentions that goes awry when it attempts to unpack any of its ideas.”
Why Criticism: Chasing Restorations, from Wong Kar-Wai to Wonder Woman
“The total dominance of our digital cinema platforms has forced cinephiles to reckon with their own assumptions and understanding of the medium.”
Review: Lawrence Michael Levine’s ‘Black Bear’
“It’s the sardonic, versatile Plaza performance that saves Levine’s ‘Black Bear.'”
