War and Domestic Violence in Fritz Lang’s ‘Human Desire’
“In ‘Human Desire,’ the train tracks carry its hero into the sunny paradise of the American Dream, not the depths of noir’s endless night.”
Of Elephants, Daughters and Rebels: Bobby Sarma Baruah’s ‘Sonar Baran Pakhi’
“In its thorough research and extensive reconstructing of the artist’s life, ‘Sonar Baran Pakhi’ is a document of celebration. Of the artist, the daughter, the mother. And the effortless rebel.”
The Haunted House Heartbeat in Dario Argento’s ‘Inferno’
“The real strength of ‘Inferno’ is the dominant sense of terror that Argento creates through his mastery of physical space (shaded by bright reds and blues, contrastive images of grandeur and decay in the production design)…”
Vague Visages Is FilmStruck: Ingmar Bergman’s ‘Summer with Monika’
“Undeniably the central focus of ‘Summer with Monika,’ Andersson’s overt sex appeal somewhat minimizes her remarkable range in the film, her seamlessly oscillating moods and subtle facial intimations.”
Action Hero Vulnerability and Shocking Comedy in John Frankenheimer’s ‘Dead Bang’
“The vomit moment in ‘Dead Bang’ is unfailingly human.”
The Power of Suggestion in Ben Young’s ‘Hounds Of Love’
“‘Hounds of Love’ makes an intriguing case for suggestion in place of an all-out, sensationalized show.”
‘It Comes at Night’ and the Trouble with Horror Movies That Don’t Fit Into a Genre-Specific Box
“The genius of ‘It Comes at Night’ is that its monsters are, for the most part, human.”
Review: Esteban Crespo’s ‘Amar’
“‘Amar’ is passionate without being pretentious.”
The Cold Light of Day: On Agnès Varda’s ‘Le Bonheur’
“Nothing in ‘Le Bonheur’ produces lasting unhappiness, and to approach it in a spirit of contemplation, rather than one of judgment, may allow the movie its most favorable terms of engagement.”
The Anti-Romance of Agnès Varda’s ‘La Pointe Courte’
“The married couple’s conversation in ‘La Pointe Courte’ is a spellbinding predecessor to Richard Linklater’s ‘Before Trilogy’ and further proof that no great film needs ‘action’ to be great.”
Vague Visages Is FilmStruck: Jacques Demy’s ‘Lola’
“Like his characters, Demy’s camera in ‘Lola’ moves everywhere but goes nowhere; it’s a paradoxically headlong hesitation.”
Not Your Trophy: Deer Imagery in Jordan Peele’s ‘Get Out’
“‘Get Out’ explores many notions: the duplicitous nature of liberal racism, the cumulative damage of microaggressions and appropriation, assimilation versus acculturation. But it’s the deer imagery that continue to elude audiences.”
Vague Visages Is FilmStruck: Mikhail Kalatozov’s ‘I Am Cuba’
“‘I Am Cuba’ is more than a picturesque travelogue. It is a pulsating ethnographic profile, an excavation of sorts, uncovering and unleashing its discoveries with a sweeping scope.”
A Woman’s Touch: The Trinity of the Body in ‘American Mary’
“With ‘American Mary,’ the Soska sisters tell a story that deserves a place alongside the likes of ‘I Spit on Your Grave’ and ‘Hostel’ in its bold but nuanced steps that push forward the genre entire.”
Casting a Spell for Peace: On ‘Arrival,’ Max Richter and Our Unending Need for Violence
“It’s in Louise’s absolute refusal to allow our barbaric side to win that ‘Arrival’ shows its moral core.”
‘Arrival’ and the Perils of Science Fiction
“What is awkward about these ‘Arrival’ reviews is how they oppose the film’s best qualities to its generic roots.”
Vague Visages Is FilmStruck: Pedro Costa’s ‘In Vanda’s Room’
“Whatever its genus, ‘In Vanda’s Room’ is one harrowing motion picture… It is also one of the best films from the past 20 years.”
Of Love and Other Demons: ‘Baby Doll’ Celebrates Its 60th Anniversary
A Column on Love and Erotica in Cinema by Justine A. Smith
Vague Visages Is FilmStruck: Stanley Kubrick’s ‘Fear and Desire’
“‘Fear and Desire’ is more than just a curio for the Kubrick completist. It is indeed a genuinely revealing work.”
Vague Visages Is FilmStruck: Jean-Pierre Melville’s ‘Le Samouraï’
“Jean-Pierre Melville’s ‘Le Samourai’ is the definition of cinematic precision. Each shot, each cut, each movement is a slice of redolent, provocative and sometimes even banal accuracy.”