“‘Reconciliation’ exists in a curious middle ground, stuck between the effectiveness of its craft and touching, humanist storytelling and the wider narrative desires that pull both artists and audiences to these stories.”
“For a film completed in fits and starts over so many years, there’s a remarkable intellectual coherence to ‘No Place Like Home.'”
“The cultural energy of the French New Wave is all over ‘The Story of a Three-Day Pass,’ not least because Van Peebles moved to Paris with his young family and published four novels in French as he was learning the language.”
“Roger Ebert once wrote ‘it’s not what a film is about, it’s how it is about it,’ and it’s this phrase that I usually return to when thinking about cinema that deals with humanity’s worst impulses.”
“For all the praise showered on Almodóvar’s later work, it lacks the wildness, freshness and exuberance of his 80s filmography, which often feels unfairly overlooked as a result.”
Fedor Tot on Pedro Almodóvar’s Collaborations with Antonio Banderas
“‘Betty,’ through the simplest of guises — bare-bones animation, a bit of music and a wry, haphazard director’s commentary — is an impressive feat of doing a lot with extremely little.”
“How much is our response conditioned by our willingness to see causality in correlation, regardless of the original artistic intention?”
“Whether it is economic, ethnic or geopolitical, ‘The Heavy Burden’ keeps finding new ways to frame the marginal life of its protagonists.”
“In just 23 minutes, ‘Vader’ presents a nuanced and complex picture of fatherhood, as shaped by both individual personalities and wider social events.”
“Film criticism unable to confront film’s relationship to business is destined to fail and will continue to reproduce the same tired critiques of cinema.”
“‘Underground’ remains a controversial and wildly ambitious film, one that refuses to be pinned down. It’s a never-ending hall of mirrors that reveals more about the audience than the narrative itself.”
