“With ‘A Married Woman,’ Godard appears fully devoted to topical bullet points through an essayistic structure, forgoing conventional narrative, character development or expedient pacing.”
“‘Kiki’s Delivery Service’ captures the imaginations of young viewers while imploring the older among them to let common sense go in order to enjoy the pop music and irrefutable heart.”
“After viewing ‘A Girl Walks Home Alone at Night’ for the first time, I wondered, ‘Doesn’t a woman have to be at least a little bit monstrous to survive?'”
“Like a lot of reality television, ‘Christian Mingle’ is funny for hateful reasoning that displays damaging, scary facets of our culture.”
“‘In a Lonely Place’ finds Nicholas Ray still the relative newcomer to the Hollywood studio scene, yet he is already displaying subversive evidence of instilling in his work representative preoccupations.”
“Though bleak and at times brutal, ‘Buffalo ’66’ manages to evoke a world of sensitivity that’s, dare I say, rather feminine.”
“‘Eve’s Bayou’ is like a living poem, deftly exploring the way memory can both comfort and haunt us, long after the actual wounds of our tragedies heal.”
“As Bridget Gregory in ‘The Last Seduction,’ Linda Fiorentino is like the shock of hearing a gunshot in the dead of night. She embodies, more than any other character, the ethos of the modern femme fatale.”
“‘Women in Revolt’ stands in defiance of the majority of transgender-specific cinema…”
“A fever dream of marital discontent, Charlie McDowell’s ‘The One I Love’ tackles a failing marriage with sci-fi panache.”
“What would the world of animation be like if Yoshifumi Kondō had lived to make another film?”
“An incredible failure, ‘The Rose Tattoo’ has value in understanding the confines of the production code and the importance of good direction.”
“‘Gilda’ is one of the great examples of onscreen masochism.”
“‘Blood for Dracula’ is confusing thematically, but I think that’s part of the point. As pulpy as it is, Morrissey’s film strongly confronts and challenges our ideas of purity and gender.”
Jaime Grijalba on Santiago Festival Internacional de Cine
“Of all Sam Peckinpah’s films, the violence in ‘The Getaway’ often strikes me as the most senseless.”
“Cable Hogue ogles and desires Hildy because she appeals to him sexually: there are no shades of grey here, no self-reflection. In the world of Peckinpah, sex is often just sex.”
“‘Black Orpheus’ embraces sex as multiplicitous. This somehow makes the love more noble, because it is not confused with lust, and sex becomes a celebration rather than a symbol of it.”
“After my first viewing of ‘Vivre sa vie,’ I closed my laptop, went out and chopped my waist-length mane to a bob. Movies have always had that mysterious power of making me feel as if I have lived all the lives I see on-screen.”
“Throughout ‘Opening Night,’ reality and make-believe are interwoven into a mass of chaos.”