“‘Red State’ boasts a starry cast, but Smith’s story is ruthlessly contained, captured with a grainy texture, and presented like a true no-budget indie horror, with bursts of shocking violence punctuating the tense atmosphere.”
“The magic of Hadzihalilovic’s ‘Earwig’ comes in the form of its suggestion that viewers abandon their expectations and preconceptions about what cinema should be and what a story can be.”
“‘Kid 90’ is a story that could have used more unguarded introspection.”
“‘Medusa’ is so overstuffed that it can’t find a way to tie its myriad conflicting tones together…”
“‘Promare’ offers an electrifying amount of fun, and it’s perhaps one of the finest examples of escapist cinema during the COVID-19 era.”
“At just 20 years old, Luàna Bajrami has an assured artistic vision that makes ‘The Hill Where Lionesses Roar’ a stunning debut feature.”
Ignacio Agüero Essay: Vague Visages’ Q.V. Hough on OVID’s streaming celebration of the Chilean documentarian.
“‘Dashcam’ unintentionally reinforces the idea that protagonists must be likable in some fashion, even if depiction obviously doesn’t equal endorsement.”
“‘The Card Counter’ is a dark and moody work that successfully entertains and engages, reaching new heights for the experienced director.”
“At 100 minutes, ‘Bad Candy’ should be the ideal length for an anthology, but it feels equally overlong and rushed. The tone is also disconcertingly serious for such lowbrow material.”
Aahuti Interview: A conversation between Vague Visages’ Dipankar Sarkar and Indian filmmaker Lubdhak Chatterjee.
“The Interpreters’ most powerful moments emerge when the subjects speak about achieving their goals. Their eyes light up, they exude pure joy. It’s a unique type of happiness that bursts through the screen.”
“‘For Madmen Only’ is essential viewing for comedy and improvisation hounds, but Ross must be praised for her ability to appeal to general audiences as well as hardcore scholars.”
“‘Together’ is a monotonous affair with little to add to either the pandemic or relationship genre.”
EIFF 2021: Vague Visages’ Marc Nelson on the documentaries Bosco, The Gig Is Up, Faceless and Radiograph of a Family.
Paka (River of Blood) Interview: Vague Visages’ Dipankar Sarkar discusses the 2021 movie with filmmaker Nithin Lukose.
“‘Plan B’ is a rare bird in that it gets better as it goes along. So many movies in the teensploitation tradition start strong and quickly run out of gas.”
“‘The Man Who Sold His Skin’ gets a little too didactic with its final act messaging, but the strong central performances make the overall experience worthwhile.”
“‘The Sorrow and the Pity’ is surgical and functional, yet unquestionably a reflection of the imagination of an artist.”
“‘Reconciliation’ exists in a curious middle ground, stuck between the effectiveness of its craft and touching, humanist storytelling and the wider narrative desires that pull both artists and audiences to these stories.”