“For those suffering from the same dissatisfactions depicted in ‘Touki Bouki’ and ‘Taipei Story’ — be they based on economics, vocation, familial and romantic relations or a broad national uncertainty — hope may be all there is. And that, at least, is something.”
“By addressing the dark realities of show business, ‘Cabaret Maxime’ spotlights the beauty of unconditional artistic love – for an individual creative pursuit, and for a shared belief system amongst peers.”
“‘The Snake Pit’ became the first Hollywood film to address mental health in such a raw way, and set a standard for future films that similarly explore the topic.”
“The appealing leads spark with genuine onscreen chemistry, and Meghie capitalizes on a terrific supporting cast to vividly render past and present in complementary balance.”
“Tucked in our so-called privileged positions, we need to not only hold tight but also need to learn when to engage and when to let things go.”
“A film like ‘I Was at Home, But’ tests its audience and never tells them if they’re right, and therein lies the challenge. The point is not to “get” the film but to have thought about it and come up with a whole array of personal truths.”
“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.”
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“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.”