Interview with ‘Irul’ Filmmaker Naseef Yusuf Izuddin
Dipankar Sarkar Interviews ‘Irul’ Filmmaker Naseef Yusuf Izuddin
Dipankar Sarkar Interviews ‘Irul’ Filmmaker Naseef Yusuf Izuddin
“‘The elements of ‘The Dry’ may be conventional, but the presentation, as well as Connolly’s attunement to very real concerns, still burns.”
“Everything about ‘Seance’ is loudly, proudly feminine and female focused… if one didn’t know this was Barrett’s work, it could easily be mistaken for that of a female filmmaker, which is no small feat.”
“Sure, ‘Saint Maud’ can be called a horror film, but it is equally a psychological drama that gets a lot of mileage from a tried and true trope: the shifting power dynamics in a superior/subordinate relationship.”
“While Wright’s stylized execution is impressive, ‘The Woman in the Window’ is a yarn that never fully grabs its audience by the jugular.”
“One of the great pleasures of watching any Almodóvar film, but especially ‘Julieta,’ is studying its expressionistic textures…”
“‘Saint Maud’ proves, once again, that horror, and particularly indie horror, provides the opportunity for first timers to take real risks.”
“‘Mayday’ is the filmic equivalent of an answer to a distress call, letting those in need simply know that it’s there.”
“While Suzuki’s overly-stylized and sometimes incomprehensible films ultimately led to his termination from Nikkatsu in 1968, his legacy safely lives on in modern day Japanese cinema…”
“Occupying a middle space between the classicism of Japan’s most well-known filmmakers and the politically charged avant-garde of the New Wave, Suzuki uses the trappings of noir to explore the ramifications of isolation.”
“A blueprint for Suzuki’s later masterpieces, ‘Take Aim at the Police Van’ is a solid cinematic vehicle full of suspense and surprises.”
“In Kurosawa’s noir films, characters struggle to move beyond loss — personal, financial and national — only to find that more loss awaits them.”
“‘Southland Tales’ and ‘Kaboom’ aren’t defined BY their end-of-days narratives, as their apocalypses define the contents through the fulfillment of apocalyptic revelations.”
“In ‘The Bride Wore Black,’ cruel fate rips true love away from the innocent, suggesting that Truffaut believed pure happiness is only found in fairy tales.”
Dipankar Sarkar Interviews ‘Kaali Khuhi’ Director Terrie Samundra
“‘Climate of the Hunter’ is fatally enthralled by its own bizarre, overwrought stylistic tics, from the exaggerated performances aiming squarely for the cheap seats to the Wes Anderson-style PSAs…”
“There’s a timelessness to ‘The Bloodhound’ that puts it on a par with recent and similarly quietly-horrific offerings like ‘It Follows’ and ‘Piercing’…”
“‘The Black Dahlia’ shows De Palma in a reflective mood, considering the impact cinema, especially his own, has had on the lives and suffering of women on screen.”
“Damiano and Fabio D’Innocenzo’s second feature, ‘Bad Tales,’ is morbidly curious and content to simmer in its own pessimism.”
“There is so much stuff in ‘Possessor’ that you might think you’re at a venerable cinematic feast. But take away the squelching and splatter and there’s barely enough to fill an episode of ‘Black Mirror.’ The food turns to cotton wool in your mouth.”