Why Criticism: Defining New Cinema at FNC 2016
“In search of new worlds and experiences, this year’s FNC has been a journey from the physical world to the metaphysical.”
Two Drink Minimum: Christopher Guest’s ‘Mascots’
“Jamming its artistic support into the final few moments, ‘Mascots’ just checks off boxes.”
Interview with Kelly Reichardt, Director of ‘Certain Women’
Marshall Shaffer Interviews Director Kelly Reichardt
London Film Festival Review: Jim Jarmusch’s ‘Paterson’
“‘Paterson’ is about that circularity of life that simultaneously brings about sparks of creativity and moments of reassuring stability.”
CIFF Review: Park Chan-wook’s ‘The Handmaiden’
“In a film that’s otherwise so devoted to giving these women the opportunity to create a new identity, ‘The Handmaiden’ can’t help but peek into their new lives.”
NYFF Review: Mike Mills’ ’20th Century Women’
“With Mills so free and acrobatic in his constructions and portrayal of the characters, coupled with excellent acting, it’s difficult not find them endearing given the wit and depth of ’20th Century Women.'”
Neaux Reel Idea: Randy Mack’s ‘Laundry Day’
Neaux Reel Idea is a Vague Visages column by Bill Arceneaux, in which he explores the cinema of his native New Orleans.
CIFF Review: Asghar Farhadi’s ‘The Salesman’
“Farhadi’s films have sometimes been tricky for me as a Western viewer, as it’s difficult to know what’s considered conventional social perception and what’s considered political commentary. “
London Film Festival Review: Bavo Defurne’s ‘Souvenir’
“The plot of ‘Souvenir’ can certainly raise eyebrows, but it is this very absurd quality that adds to the film’s tongue-in-cheek charm.”
London Film Festival Review: Olivier Assayas’ ‘Personal Shopper’
“To say that ‘Personal Shopper’ unveils Stewart giving the best performance so far in her career is scarcely a hyperbolic claim.”
Why Criticism: The Tale of the Festival Film
A Column on Film Criticism by Justine A. Smith
Two Drink Minimum: ‘Iliza Shlesinger: Confirmed Kills’
“It’s a savvy marketing strategy for extremely capitalist comedy, but the Shlesinger routine never amounts to anything more pleasant than being stuck sharing a cab with someone that seemed much more interesting several hours and drinks ago.”
NYFF Review: Jean-Pierre and Luc Dardenne’s ‘The Unknown Girl’
New York Film Festival 2016
NYFF Review: Pablo Larraín’s ‘Neruda’
“Neruda’s shining star is Luis Gnecco, who brings the poet back to life.”
Why Criticism: Writing About What You Don’t Know
A Column on Film Criticism by Justine A. Smith
Review: Sang-ho Yeon’s ‘Train to Busan’
“‘Train to Busan’ becomes obsessed with how its characters will face the various obstacles thrown at them, but the film does not operate with a human desire for justice.
Of Love and Other Demons: ‘Auto Focus’ (Paul Schrader, 2002)
A Weekly Column on Love and Erotica in Cinema by Justine A. Smith
Fantastic Fest 2016: Cannibalism and Competition – On ‘Toni Erdmann’ and ‘Raw’
“At Fantastic Fest, that hard truth can be funny or frightening depending on which auditorium you enter.”
Why Criticism: Umberto Eco and ‘The Infinity of Lists’
A Column on Film Criticism by Justine A. Smith
Fantastic Fest 2016: A Talk with Director Ana Lily Amirpour on Inspiration and ‘The Bad Batch’
Marshall Shaffer Interviews Ana Lily Amirpour