“Though Sidney Lumet is by and large a classical filmmaker who privileges wide shots, staging and judicious framing over highly expressive techniques, ‘Daniel’ is one of his most formally adventurous works.”
“At its seemingly lugubrious heart, ‘Return to Oz’ is an ode to imagination; a celebration of the weird and wonderful worlds of our own making, in which we find sanctuary and satisfaction.”
“Schoonmaker’s contribution to ‘The Irishman’ may be her finest effort: she shapes an epic that masterfully controls pace — accelerating and decelerating it at will…”
“‘The Irishman’ may be the last film of an era. The banquet scene ranks among the most powerful sequences of Scorsese’s career because he allows it, following Visconti’s example, to linger.”
“In an era where cinephilia is always about performance, both online and in real life, woke buffs feel compelled to assemble their character like in a video game…”
“What’s consistently left out of the ‘Cheer’ conversation is a discussion of the precarious tension of love and exploitation between coach Monica Aldama and the team.”
“Over time, a film critic should be able to engage with cinema in an all-encompassing manner, acknowledging the interior and exterior forces of what makes a movie…”
“What drives through the heart of LSFF’s New Shorts: London Lives is the expansiveness of the city and the loss of connection through digitalisation. Collectively, the films demonstrate the importance of community.”
“The persona, the artist, the maestro, the ringmaster — one can’t help but bask in the direct, subjective joy and the elegiac reverence for cinema itself.”
“The films of Bill Forsyth are well-observed, genial comedies — and yet the director’s humor is intermingled with a powerful strain of sadness, an attentiveness to protagonists lost and longing.”
![LSFF Oscillations - The Giverny Document [Single Channel]](https://vaguevisages.com/wp-content/uploads/2020/01/the-giverny-document-single-channel-short-film-1250x600.png.webp)
“LSFF’s Oscillations strand is one of the more immersive parts of the festival, with each film exploring social norms, bodily autonomy and the intersections of life.”
“The Houses in Motion strand breaks the mould in successfully exploring how concepts of life and death, home and away and physical and mental states metamorphose and develop within their own spaces.”
“Varda’s enthusiasm for making is simply infectious.”
“‘The Verdict’ is Lumet’s morality play, a palate-cleanser after the bitter cynicism of his previous film that affirms the fundamental goodness of a few ordinary people within the justice system.”
“The demise of the conspiracy thriller pointed to a broader shift; it signalled the rise of a new credulity, a willingness to re-engage with the idea of America in spite of its reality.”
“It is Karina who embodied the freedom, fascination and the unpredictability that would define the French New Wave. It is Karina who made so many fall in love — with her and with cinema as an extraordinary, exultant medium.”
“Every frame of ‘A Hidden Life’ is informed by unapologetic inquisitiveness. It’s a breathtakingly beautiful tapestry of faith, systemic inhumanity, humility and transcendent love — made with rare sublimity and sincerity.”