“Deerskin’s methodology might be new, but the central tenets of its 77 minutes are part of the same cinematic heritage that created Jim McBride’s indie darling ‘David Holzman’s Diary’ (1967) and Krzysztof Kieslowski’s ‘Camera Buff’ (1979).”
“If failure is the greatest teacher, then Peter Medak has earned his doctorate with ‘The Ghost of Peter Sellers.'”
“The most remarkable feature of ‘Tokyo Vampire Hotel’ is its timeliness. Though the series was released in 2017, it takes place in 2021, and something about it feels distinctly ‘2020s,’ distinctly of the cinema to come, if not distinctly of 2020 and the present moment.”
“It’s a fascinating experience to see ‘Aparisyon’ via Locarno’s ‘Open Doors’ strand, where it is presented as a key work in understanding contemporary Filipino cinema.”
“There was nothing else like ‘CREEM’ back then, and there’s still nothing like it now. That’s not only a testament to the importance of the magazine, it’s also a sad commentary on what’s lacking in modern music criticism.”
Marshall Shaffer Interviews ‘A Girl Missing’ Director Kôji Fukada
“I was taken with You Don’t Nomi’s comfortable attitude toward the complexity and ambiguity of a text that can support and sustain such wildly opposite readings.”
“‘Brigitte’ is a slight and sweet addition to Ramsay’s catalogue, and it gently leaves its impressions.”
“When ‘Make Up’ reaches the light at the end of its twisted tunnel, its culmination is gratifying and sumptuously-realised.”
Dipankar Sarkar Interviews ‘Eeb Allay Ooo!’ Director Prateek Vats
“The black and white edition of ‘Parasite’ is a gift, and the real beacon shining brightly in the dark.”
“Indonesian horror has been gradually finding its feet over the past few years, and ‘Impetigore’ shows that we’ve barely even scratched the surface.”
“‘The Night Is Short, Walk on Girl’ feels like an inadvertent political statement, a continuation of the status quo in the romantic comedy genre. Still, there is something there.”
“No director has been able to replicate Nobuhiko Ōbayashi’s iridescent, hallucinatory and infectious passion for film.”
“‘The Beach House’ signals an exciting new star in horror.”
“Much of Babyteeth’s vitality can be located in the way each of the central characters is so fully realized.”
“‘The Audition’ considers how we navigate the middle space between power and powerlessness, and Hoss’ performance, whether she’s yearning for affection or responsible for staggering brutality, is the film’s greatest asset.”
“‘Tommaso’ shows Ferrara taking his career in a new direction, and it’s nice to see someone of his stature still making innovative, daring films.”
Leslie Hatton Interviews ‘After Midnight’ Filmmakers Jeremy Gardner, Christian Stella and Justin Benson
“Hammer’s short length may feel like a detriment to some and seem too sparse, with its brevity making for some awkward moments. That said, it’s a refreshing change from the sprawling crime sagas of late…”