Interview: Director Noah Lerner on Murray Lerner’s ‘Festival!’
Bill Bria Interviews Noah Lerner About Murray Lerner’s 1967 Documentary Festival!
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Bill Bria
Review: Alex Gibney’s ‘Citizen K’
“There’s no telling the story of Khodorkovsky without telling the story of Russia, and it’s for that reason that ‘Citizen K’ is rather invaluable to people like this writer, Americans of a certain age who perhaps aren’t well versed in Russian history.”
Review: Todd Haynes’ ‘Dark Waters’
“‘Dark Waters’ may have a downbeat climax, to the degree that may not be considered a climax at all, yet it’s a film made to inspire action, to underline the idea that this crisis is a modern one — it’s still happening, and it’s not resolved.”
New York Film Festival Review: Edward Norton’s ‘Motherless Brooklyn’
“‘Motherless Brooklyn’ may not be a sterling example of traditional noir, but its subtext is gripping in its own way. The victim of this crime story isn’t a dead man or a damsel in distress, but the spirit of a city.”
Review: Bong Joon-ho’s ‘Parasite’
“‘Parasite’ takes a left turn that’s so hard yet so appropriate that it’s like watching a spectacularly executed high wire act.”
Review: Issa López’s ‘Tigers Are Not Afraid’
“What ‘Tigers Are Not Afraid’ doesn’t contain in terms of deep characters and real-world specificity, it makes up for with its supernatural elements, allowing its allegory to resonate.”
Review: Tilman Singer’s ‘Luz’
“‘Luz’ may be a distancing film, but it’s ultimately a fascinating and genuinely creepy one, forging as it does a bold new vision for the tired old demon possession movie, taking a cue from the demons of the subgenre and putting new life into its subject.”
The “Happy” Endings of Ari Aster’s Cult Horror Duology
“If part of the horror genre’s mission is to elicit fear through the erosion of safety, then the endings of ‘Hereditary’ and ‘Midsommar’ are the ultimate expression of that mission.”
The Monsters Are Loose: Grief and Regret in A.T. White’s ‘Starfish’
“Many ‘Starfish’ reviews pick up on the film’s unmistakable exploration of grief, but just as many neglect to mention the other half of White’s semi-autobiographical work and its reckoning with guilt and regret.”
Tribeca Film Festival Review: Rania Attieh and Daniel Garcia’s ‘Initials S.G.’
“Attieh and Garcia have ironically made a movie that metatextually gives Sergio the respect he doesn’t deserve. If he were real, he’d be absolutely thrilled to be the star of a movie that’s so unique, and so genuinely cool.”