“While ‘Teorema’ and ‘Visitor Q’ share a common DNA, what’s most striking is the way each film uses The Stranger. Both figures bring with them a kind of new order, as if they were missing puzzle pieces for the families that they integrate themselves into.”
“In ‘Night Falls on Manhattan,’ Lumet arrives at acceptance — the system is what it is. He is resigned to his inability to chronicle any meaningful change through his work.”
“One of the most accomplished elements of ‘Le choc du futur,’ which is Collin’s feature debut (he is better known as covers project Nouvelle Vague’s co-founder), is the way the film engages in an ongoing conversation on the nature of art and how we consume it as well as create it.”
“‘Yi Yi’ is a film for grown ups in the sense that the characters have lived long enough to understand how memories of people can stay with them over the course of their lives. Keeping your distance from people is not the same as giving up on them.”
“Quatermass is an eccentric antihero who presages Doctor Who in his singular disregard for established mores and the niceties of procedure…”
Tribeca Film Festival 2020: Marshall Shaffer on ‘Pray Away, ‘Socks on Fire, ‘499’ and ‘Through the Night’
Alistair Ryder Interviews South African Filmmaker Oliver Hermanus About ‘Moffie’
“By focusing on three elderly Ushimado residents, Sôda has unconsciously managed to both comment on the present and the past, as the subjects seem like relics or museum articles that have come to life through monochromatic photography.”
“In conjunction with the religious references of the track names, the music on ‘Oscillospira’ evokes the drama of creation and destruction on a grand scale.”
“Haley Bennett’s central performance is career-best work.”
“Perhaps the exaggerated disregard for human life in the name of national pride, entertainment and prosperity in ‘Death Race 2000’ is a timely trigger for reassessing priorities as we await a return to normalcy.”
Greg Carlson Interviews Documentarian Mike Scholtz About VHS Collecting
“It is during the 70s that the disaster film’s most pure and admirable entries were made, bookended by two significantly different stories involving air travel fiascos.”
“Directed by Nora Fingscheidt, ‘System Crasher (Systemsprenger)’ features a tremendous central performance from Helena Zengel, along with superb use of editing and colour.”
“Abstract and disjointed, the narrative of ‘Mysterious Object at Noon’ is progressively piecemeal, and what occurs in ‘Limite’ is even more inconclusive.”
“Channeled through science and machines, good ol’ American ‘know-how’ had helped win the war, save democracy and crush tyranny. It’s understandable that a similar story would percolate through to the small-scale conflicts of cops and criminals.”
“As a chronicler of the justice system in a dozen or more films, Lumet is intimately concerned with the ways in which it represses individual thought and fails to live up to its supposedly defining principles.”
“In the cinema of Michael Mann, romance comes fast or not at all, often smothered by the anonymous network of mankind itself or maybe just your job.”
“Stories of older women emotionally manipulating younger acquaintances remain commonplace, but Nebbou’s film manages to find something genuinely human beneath tired hagsploitation tropes.”
“In Australia, our cinematic art has been trying to shake us from apathy for 50 years.”