Sundance Film Festival Review: Josephine Decker’s ‘Shirley’
“‘Shirley’ is not just a film about the pain and struggle of creativity for all artists, but about women particularly.”
Sundance Film Festival Review: Josh Ruben’s ‘Scare Me’
“‘Scare Me’ takes a while to get going, awkwardly finding its footing through its opening scenes, but when it settles into the long night of storytelling in the cabin, Ruben’s debut feature becomes a total delight.”
Review: Chinonye Chukwu’s ‘Clemency’
“Chukwu avoids any overt didacticism in her storytelling, even if the mounting pressure on the beleaguered protagonist is delivered with quiet resolve and suffocating dread.”
IFFR 2020 Review: Roy Andersson’s ‘About Endlessness’
“Andersson depicts fragments of humanity, stitched together with humour and relatability, and without a hint of loftiness or condescension.”
Review: Richard Stanley’s ‘Color Out of Space’
“‘Color Out of Space’ is proof, if any were needed, that Stanley knows what he’s doing and that he should be given opportunities more often.”
Review: Tamara Kotevska and Ljubomir Stefanov’s ‘Honeyland’
“In her mysterious way, Hatidze’s character is as gorgeous and singular as the breathtaking images collected by cinematographers Fejmi Daut and Samir Ljuma.”
Review: Kantemir Balagov’s ‘Beanpole’
“Many directors twice Balagov’s age could only dream of making a film this unwavering and unsettling — so explicit in its understanding and exploration of extreme female pain.”
Review: Sam Mendes’ ‘1917’
“With a fresh, new approach, Mendes memorializes not only his grandfather, but all the brave soldiers of WWI, reminding viewers of the individual tragedies that comprise warfare.”
A Master Looks Back: ‘Varda by Agnès’
“Varda’s enthusiasm for making is simply infectious.”
Review: Mati Diop’s ‘Atlantics’
“Diop’s feature debut is one that embraces the strange, joyous and tender moments that extend beyond boundaries and linear temporalities. Neither love nor life moves in a straight line.”