Review: Nahnatchka Khan’s ‘Always Be My Maybe’
“The rom-com isn’t dead. It was simply evolving into something more interesting, more modern and more accepting.”
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Martin Scorsese and Bob Dylan Make Believe in ‘Rolling Thunder Revue’
“Not everyone, and not even every Dylan fan, will go along with the tall tales, but amidst the japes are several of the most riveting live performances of Dylan’s career.”
Sergio Caballero’s ‘Je te tiens’: The Many Machinations of a Movie
“‘Je te tiens’ connotes a representation of the conversation that exists between the inner contextual world of a film and the overarching art of filmmaking itself.”
La Quinzaine des Réalisateurs Review: Ariane Labed’s ‘Olla’
“Through sharp sound design and awkward moments of situational comedy, ‘Olla’ highlights the inner fire of a young woman; a charismatic vagabond. Like her frequent collaborator Yorgos Lanthimos, Labed uses tonally offbeat situations to hilariously explore perceptions of logical and illogical behavior.”
Jahnu Barua’s ‘Bhoga Khirikee’ Peeks Into An Insurgent Assam
“There is seething, justified anger that underscores the plot of ‘Bhoga Khirikee’; an anger that could be used to create extremely radical female characters who pull the plot forward instead of becoming cardboard stand-ins for the filmmaker’s radical politics.”
Sundance London Review: Daniel Scheinert’s ‘The Death of Dick Long’
“Scheinert uses each twist to burrow further into the impulses and regrets of two strong silent types.”
Cannes Film Festival Review: Pippa Bianco’s ‘Share’
“When everything aligns, ‘Share’ works brilliantly and feels like a true indie hit. Unfortunately, such moments are fleeting, and it ultimately feels like a glorified student film.”
Review: Joe Talbot’s ‘The Last Black Man in San Francisco’
“‘The Last Black Man in San Francisco’ soars, stretching gull wings as a poetic lament articulating longing and loss recognizable and accessible to all.”
Sundance London Review: Patrick Brice’s ‘Corporate Animals’
“Brice and company get too tied up in the character comedy for ‘Corporate Animals’ to work as a satire (or to really say anything at all), and the televisual filmmaking isn’t helped by a plotline that could have been a single episode of ‘The Office.'”
La Semaine de la Critique Review: Valentina Maurel’s ‘Lucia en el limbo’
“Maurel allows Arenas’ body language to speak for her, rather than relying upon cliché teenage dialogue found in many Hollywood films.”