“The utter sadness of Little and Big Edie’s story is why ‘Grey Gardens’ is so moving — direct cinema allowed this story to be explored with a level of intimacy previously unavailable.”
Mannhunting #1 by Bill Bria: “The protagonists and antagonists in Mann’s films tend to be mirror images of each other, all of them caught within masculinity’s shackles.”
“‘No Hard Feelings’ takes queerness as a given, capturing queer joy onscreen while never losing sight of the stark realities of migrants seeking refuge in a still highly xenophobic Europe.”
“‘Hazaaron Khwaishein Aisi’ bears the unmistakable stamp of an artist at the very apogee of his creative prowess.”
“Many of us may miss the drama of awards season, but there are untold benefits to criticism if it continues to evolve away from its current state.”
“Looking back on early-2000s fare, ‘Get Over It’ stands out as smarter, sweeter, funnier and weirder than many of its contemporaries…”
“For all the praise showered on Almodóvar’s later work, it lacks the wildness, freshness and exuberance of his 80s filmography, which often feels unfairly overlooked as a result.”
“Jane Austen’s stories are already more pointed and complex than many people give them credit for, but two 2016 film adaptations took that caustic tone to new heights…”
“By spoiling God’s servants with sex, drugs and doubt, films like Almodóvar’s ‘Dark Habits’ show that earnestly criticising the Catholic Church’s crimes is not the only way to weaken centuries of unchecked supremacy.”
Brian Brems on ‘The Treasure of the Sierra Madre, ‘Da 5 Bloods’ and ‘Trespass’
“Pedro Almodóvar adores women, and he’s a champion of feminism. In no other film is the Spanish filmmaker’s reverence for the female gender more evident than in the 2006 drama ‘Volver.'”
Fedor Tot on Pedro Almodóvar’s Collaborations with Antonio Banderas
“One of the great pleasures of watching any Almodóvar film, but especially ‘Julieta,’ is studying its expressionistic textures…”
“What comes to the fore in ‘Labour of Love’ is the difference between hearing and listening.”
“DCA is a vital part of Scotland’s cultural landscape, and arguably a nucleation point for the city’s burgeoning renaissance.”
“Nearly 40 years after its release, ‘Koyaanisqatsi’ continues to send signals.”
Greg Carlson Reviews Rodney Ascher’s ‘A Glitch in the Matrix’
“While Suzuki’s overly-stylized and sometimes incomprehensible films ultimately led to his termination from Nikkatsu in 1968, his legacy safely lives on in modern day Japanese cinema…”
“‘Branded to Kill’ doesn’t flow, it staggers — it moves like a dying man, shot through the gut, bleeding out.”
Elle Haywood on Queer Cinema at the 2021 London Short Film Festival