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Memory and Style: The Threads of a Collective Experience in Marcel Ophuls’ ‘The Sorrow and the Pity’
“‘The Sorrow and the Pity’ is surgical and functional, yet unquestionably a reflection of the imagination of an artist.”
“Loznitsa’s ‘State Funeral’ is an important reflection on the moving image.”
“‘Queen Marie’ may not be a modern historical classic, but its wink-of-the-eye moments subtly inform the audience about the filmmakers’ intent. That, I can appreciate.”
“Don’t be surprised if ‘Street Gang: How We Got to Sesame Street’ leaves you wanting more — that’s often the mark of something special.”
“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.”
“Both emotionally and narratively, ‘The Man Standing Next’ is an easy story to get lost in.”
“It may seem strange to qualify Mertens’ audaciously original production as ‘horror’ when it has no gory set pieces, jump scares, monsters or special effects. Yet, despite a lack of these things, ‘Time of Moulting’ is very much a horror film.”
“As much as I love a good story, the best movies always transport me, in an intangible sense, through the base elements.”