“‘Orange County’ is inarguably a product of its time, but the movie is also timeless in its exploration of how writing requires us to look inward as well as outward — and be just as merciless in the process.”
“Sciamma’s handling of the interactions between the kids is as confident and as beautifully realized as the depiction of relationships in ‘Water Lilies,’ ‘Tomboy’ and ‘Girlhood.'”
“‘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…”
“For all the viewers who give themselves over to Hamaguchi’s meticulous attention to detail and powerful expression of character, the entire movie flies.”
“‘Kharij’ is a scathing expose of societal problems that — truth be told — aren’t exclusive to Indian society.”
“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.”
“By grounding ‘Qissa’ in naturalism and avoiding melodramatic tropes, Singh creates a uniquely beguiling viewing experience.”
“Both ‘Licorice Pizza’ and ‘Once Upon a Time in Hollywood’ nail the anything-is-possible look and feel of Southern California dreaming.”
“‘Where Is Pinki?’ speaks to the soul with its incessant probes into the human spirit and the degradations brought by unforeseen circumstances.”
“The 70s were a tumultuous and often bleak decade for the British film industry, and this pessimism bled into its output.”
“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.”
“‘The Addams Family’ is a beacon of hope for weird kids everywhere, since Wednesday and Pugsley are never forced to change who they are to fit in, nor do they care what anyone thinks.”
“Ducournau’s approach to cinematic lineage and influence in ‘Titane’ is a complicated one, as she develops her singular filmmaking style into something even more evasive and intricate than in ‘Raw.'”
“‘Martha Marcy May Marlene’ opines that it’s sometimes better to give up trying to fix somebody, rather than forcing them into a breakdown, particularly in instances when the source of their trauma isn’t completely clear.”
“There is no analytical framework to guide audiences towards a hollow understanding of raw talent. Gleeson’s charisma is built-in, like all legendary performers, and this is most evident when his characters behave despicably.”
“‘Gully Boy’ has as much heart as it does energy, and skillfully manages to avoid being a formulaic tearjerker about a poor boy from the slums.”
“‘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.”
“‘Promare’ offers an electrifying amount of fun, and it’s perhaps one of the finest examples of escapist cinema during the COVID-19 era.”
Ignacio Agüero Essay: Vague Visages’ Q.V. Hough on OVID’s streaming celebration of the Chilean documentarian.
“‘The Sorrow and the Pity’ is surgical and functional, yet unquestionably a reflection of the imagination of an artist.”
