“‘Get Out’ explores many notions: the duplicitous nature of liberal racism, the cumulative damage of microaggressions and appropriation, assimilation versus acculturation. But it’s the deer imagery that continue to elude audiences.”
“Fifty-three years after initial release, ‘The Umbrellas of Cherbourg’ continues to be a formally and contextually innovative French New Wave production; a film that has influenced contemporary directors such as Barry Jenkins, Damien Chazelle and Joachim Trier.”
“I foresee that VR will eventually become a key asset of filmmaking, putting itself right alongside sound, color, digital and CGI as an essential staple of the industry.”
“Truffaut and Coutard punctuate ‘Shoot the Piano Player’ with a vibrant rendering of its wintry Parisian setting, where the city is an ever-present visual marker…”
“At a moment that calls for more inclusivity on all levels, the fact that we still have access to the Nicholas Brothers’ work is important.”
“Rohmer cares more about posing questions than providing the comfort of a conclusion.”
Marshall Shaffer Reflects on a Full Month of FilmStruck
“‘Contempt’ is a daunting and formally labyrinthine work, calling its own fallibility to question even as it submits completely to the romance of cinema.”
“As a ‘purely experimental film,’ ‘Voyage of Time’ is ultimately an extreme, sensory experience.”
“If ever a soul was captured on camera, this is it.”
“Park demonstrates how the complicated relationship between role-play, desire, secrecy, power and revenge prove ripe for darkly comic (and perverse) fodder.”
Alejandra Rosenberg Interviews Richard Peña
“‘Toni Erdmann’ understands what’s at stake: not the private destiny of an individual, but her ongoing relationship to her era.”
“Movies aren’t neutral vessels that we can stuff with our cultural baggage.”
“If Ozu has taught us anything, it’s that life doesn’t get any easier. But life does go on.”
“In Darren Aronofsky’s ‘Black Swan’ and Nicolas Winding Refn’s ‘The Neon Demon,’ the female body is used in its most delicate and presumptuously feminine form.”
“By providing viewers with a satirical undertone, Kusama offers a place to rest, making the subversion of viewer expectations all the more potent.”
“Rare is the horror comedy that evokes laughter while also giving one the creeps.”
“‘I Am Cuba’ is more than a picturesque travelogue. It is a pulsating ethnographic profile, an excavation of sorts, uncovering and unleashing its discoveries with a sweeping scope.”
“As the second last film in one of the great contemporary horror filmmaker’s careers, it’s an extraordinary example of artistic self-reflection and development.”