“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.”
“Itโs a fascinating experience to see ‘Aparisyon’ via Locarnoโs ‘Open Doors’ strand, where it is presented as a key work in understanding contemporary Filipino cinema.”
“‘The Go-Goโs’ boasts a treasure chest full of archival content in all shapes and sizes, and the imagery almost always complements the anecdotes told by the subjects with delightful detail.”
“There was nothing else like ‘CREEM’ back then, and thereโs still nothing like it now. Thatโs not only a testament to the importance of the magazine, itโs also a sad commentary on whatโs lacking in modern music criticism.”
“‘Memories of Underdevelopment’ shares with ‘Pixote’ a cautious destabilization, a sense of how long can this last, of tipping points, radical reform and the capricious aftermath.”
“If Ferris Bueller and his day off resemble something else universal, it is liberation. In the context of the journey, this is best understood as the ability to be in transit.”
Marshall Shaffer Interviews ‘A Girl Missing’ Director Kรดji Fukada
“Jarmanโs mix of time, history, memory, fantasy and dreams in ‘Jubilee’ is ultimately a hopeful warning for the future.”
“As much as I love a good story, the best movies always transport me, in an intangible sense, through the base elements.”
“As a character study, Miloลก Formanโs feature directorial debut presents a realistic vision of a boyโs attempt to come of age; a path full of setbacks without a tidy resolution.”
“I was taken with You Donโt Nomi’sย 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 Ramsayโs 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.”
Dominic Erickson Interviews ‘Bloody Nose, Empty Pockets’ Filmmaker Turner Ross
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.”
“The ideas present are intriguing, however The Rental’s ultimate staying powerย is questionable.”
“Indonesian horror has been gradually finding its feet over the past few years, and ‘Impetigore’ shows that we’ve barely even scratched the surface.”
Dipankar Sarkar Interviews ‘Nasir’ Writer-Director Arun Karthick
“‘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.”