Interview with ‘Barah by Barah’ Filmmaker Gaurav Madan
‘Barah by Barah’ Interview: Dipankar Sarkar discusses the 2021 film with director Gaurav Madan.
The Light of Human Love and Community: On ‘Moontide’ and ‘Port of Shadows’
“‘Moontide’ and ‘Port of Shadows’ offer a fascinating study into key differences in Hollywood and European filmmaking and storytelling during the 1930s and early 1940s, a time when the studio system reigned supreme…”
Review: Joachim Trier’s ‘The Worst Person in the World’
“‘The Worst Person in the World’ shows off the filmmaker’s command of rhythm and his affinity for the perfectly placed pop song.”
‘Drive My Car’: Hamaguchi Takes the Wheel
“For all the viewers who give themselves over to Hamaguchi’s meticulous attention to detail and powerful expression of character, the entire movie flies.”
Must Write a Happy Ending: The Posthumous Dennis Potter
“Dennis Potter left us with one of the most ambitious and meaningful pieces of British television, bridging commercial and public broadcasting to address the state of the nation and the fate of the artist with his customary irreverence and accessibility.”
Guilty or Not Guilty: On Mrinal Sen’s ‘Kharij’
“‘Kharij’ is a scathing expose of societal problems that — truth be told — aren’t exclusive to Indian society.”
This Is the Sound: Apichatpong Weerasethakul Contemplates ‘Memoria’
“Reading ‘Memoria’ as metanarrative unlocks only one layer of joy — Weerasethakul treats Jessica’s quest with complete respect. The source of the sound is eventually revealed. And with that revelation, the filmmaker just GOES FOR IT.”
Mind Your Manners at the House of Sorrentino
“In a time when filmmakers get hung out to dry for depicting problematic characters, why is it still OK to mock Italian culture every time a big Italian-themed movie releases?”
A Yearning for Selfhood in Anup Singh’s ‘Qissa: The Tale of a Lonely Ghost’
“By grounding ‘Qissa’ in naturalism and avoiding melodramatic tropes, Singh creates a uniquely beguiling viewing experience.”
The Kendall-Shiv Opposition in ‘Succession’ Season 3
“The tension between spectator empathy and necessary critical distance are at the heart of Succession’s mixing pot of antiheroism and amorality, which is all that’s left when its humanism is squandered and its morally redemptive potential falls short.”
Interview with ‘Borderlands’ Filmmaker Samarth Mahajan
‘Borderlands’ Interview: Dipankar Sarkar discusses the 2021 documentary with filmmaker Samarth Mahajan.
Review: Michael M. Bilandic’s ‘Project Space 13’
“In films like ‘Hellaware’ and ‘Jobe’z World,’ Bilandic favors the abstract over character development. ‘Project Space 13’ is much more refined and practical; the jokes land better because of the depth and organic qualities.”
Paul Thomas Anderson’s ‘Licorice Pizza’ Has All the Best Toppings
“Both ‘Licorice Pizza’ and ‘Once Upon a Time in Hollywood’ nail the anything-is-possible look and feel of Southern California dreaming.”
Review: Guillermo del Toro’s ‘Nightmare Alley’
“Those who’ve come to love del Toro for his auteurist elements may be put off by ‘Nightmare Alley’ — it’s recognizably his film, yet it jettisons the presence of a supernatural element as well as twists the usual empathy found in his movies toward darker ends.”
OVID News: Kiyoshi Kurosawa, ‘Bright Future’ and the Pulse of Jellyfish Gangs
OVID News: Kiyoshi Kurosawa, ‘Bright Future’ and the Pulse of Jellyfish Gangs
Interview with ‘Pedro’ Filmmaker Natesh Hegde
‘Pedro’ Interview: Dipankar Sarkar discusses the 2021 movie with filmmaker Natesh Hegde.
Review: Gonzalo Maza’s ‘This Is Cristina’
“‘This Is Cristina’ makes a strong case for the idea that truly honest art emerges when one feels like they have lost everything else.”
Buried Secrets and Hidden Lies: On Prithvi Konanur’s ‘Where Is Pinki?’
“‘Where Is Pinki?’ speaks to the soul with its incessant probes into the human spirit and the degradations brought by unforeseen circumstances.”
No Future for You: The Cinematic Image of 70s Britain
“The 70s were a tumultuous and often bleak decade for the British film industry, and this pessimism bled into its output.”
The World Is Working: Michael Glawogger’s Trilogy on Poverty and Labor
“The real horrors of Glawogger’s films are the moments when people, having been given an opportunity to open up, are crushed by their own words.”