“The continual resistance to progressivism by French film culture at large is up to them to figure out, from Cannes’ inability to put more than four women in competition in a given year to Cahiers du cinéma being sacrificed in the name of quality French cinema…”
“Whannell’s ‘The Invisible Man’ is an absolute banger, and stands tall as the most spectacular evolution of the story to hit the big screen.”
“Mahnaz Mohammadi’s tale of an Iranian mother’s dilemma render the emotional highs and lows of its characters with a naturalistic clarity.”
“Why are we watching if the director’s gaze — and hence our own — makes us feel like we’re intruding spaces that should be left otherwise untouched?”
“‘Sweet Thing’ is creatively shot and bursting with energy, but Rockwell’s biggest ambition is seemingly to replicate a bunch of ideas from other films, to put visuals to his favourite songs and to showcase his talented family.”
“Great art has every piece in intimate communion with the art as a whole. ‘Gretel & Hansel’ takes an elemental approach to the folklore, gasping with the fears of the original material while exhaling a new mystique of its own.”
“Ferrara throws everything at ‘Siberia,’ turning it into a playground for emotive relation. But it is Dafoe, his muse, who so thoroughly brings the audience along with the randomness…”
“Reichardt’s story has the mythic quality of a fable, but refrains from moralising or casting judgement on the misdeeds and mistakes of its characters.”
“Hong Sang-soo’s cinematic apparatus might seem limited to some, but it’s in the endless repetition of the same movements that perfection is achieved.”
“Petzold’s use of fairytale is rote, but – as a piece of Sirkian high melodrama – ‘Undine’ is eminently satisfying.”
