On Sundance FOMO, Classic French Cinema and ‘The Last Tycoons’
“‘The Last Tycoons’ is a helpful guide for the multi-tasking cinephile who wants to better understand French cinematic movements, such as La Nouvelle Vague, and the industry as a whole.”
Sundance Review: Oliver Hermanus’ ‘Living’
“‘Living’ translates wonderfully to post-war Britain, but it never gives the audience time to explore the full depths of sadness like Kurosawa’s source material.”
Sara Dosa Shares the Light and the Heat in Volcanology Doc ‘Fire of Love’
“Dosa, like Wes Anderson in ‘The Life Aquatic with Steve Zissou,’ seizes on the stylish allure of entrepreneurship in ‘Fire of Love.'”
Angela Schanelec’s Films and Me
“Angela Schanelec makes films that achieve nothing less than the rendering of the human soul on screen.”
Portrait of a Photographer on Fire
“‘Searching for Gerda Taro’ shows a photographer on fire, a fearless woman who knew that she could do anything by focusing on the present rather than the past.”
Review: Edoardo Vitaletti’s ‘The Last Thing Mary Saw’
“Considering that religious fundamentalists continue to persecute gay people, it’s shortsighted to present a story like ‘The Last Thing Mary Saw’ with such little concern for the current real-life ramifications of being queer.”
Review: Matt Bettinelli-Olpin and Tyler Gillett’s ‘Scream’
“‘Scream’ conjures up a fast-moving, razor-sharp, viciously violent and sufficiently surprising modern slasher of which Craven himself would be proud.”
Cold Pizza on Desolation Row
“When depression hits, it’s just there. With ‘Crimson Gold,’ Panahi demonstrates this concept while informing viewers about the nuances of Hussein’s life.”
Sean Baker’s ‘Red Rocket’ Is Go for Launch
“Baker’s appreciation for even the smallest roles is a chief delight of ‘Red Rocket.'”
‘Cheap Thrills’ and the Desperation of the Working-Class Man
“‘Cheap Thrills’ is a cautionary tale of the snake hidden in the grass, not of the lions fighting for a scrap of meat.”
Hey, Don’t Write Yourself Off Yet: ‘Orange County’ At 20
“‘Orange County’ is inarguably a product of its time, but the movie is also timeless in its exploration of how writing requires us to look inward as well as outward — and be just as merciless in the process.”
Céline Sciamma Finds Magic in ‘Petite Maman’
“Sciamma’s handling of the interactions between the kids is as confident and as beautifully realized as the depiction of relationships in ‘Water Lilies,’ ‘Tomboy’ and ‘Girlhood.'”
The Light of Human Love and Community: On ‘Moontide’ and ‘Port of Shadows’
“‘Moontide’ and ‘Port of Shadows’ offer a fascinating study into key differences in Hollywood and European filmmaking and storytelling during the 1930s and early 1940s, a time when the studio system reigned supreme…”
Review: Joachim Trier’s ‘The Worst Person in the World’
“‘The Worst Person in the World’ shows off the filmmaker’s command of rhythm and his affinity for the perfectly placed pop song.”
‘Drive My Car’: Hamaguchi Takes the Wheel
“For all the viewers who give themselves over to Hamaguchi’s meticulous attention to detail and powerful expression of character, the entire movie flies.”
Guilty or Not Guilty: On Mrinal Sen’s ‘Kharij’
“‘Kharij’ is a scathing expose of societal problems that — truth be told — aren’t exclusive to Indian society.”
This Is the Sound: Apichatpong Weerasethakul Contemplates ‘Memoria’
“Reading ‘Memoria’ as metanarrative unlocks only one layer of joy — Weerasethakul treats Jessica’s quest with complete respect. The source of the sound is eventually revealed. And with that revelation, the filmmaker just GOES FOR IT.”
Mind Your Manners at the House of Sorrentino
“In a time when filmmakers get hung out to dry for depicting problematic characters, why is it still OK to mock Italian culture every time a big Italian-themed movie releases?”
A Yearning for Selfhood in Anup Singh’s ‘Qissa: The Tale of a Lonely Ghost’
“By grounding ‘Qissa’ in naturalism and avoiding melodramatic tropes, Singh creates a uniquely beguiling viewing experience.”
Review: Michael M. Bilandic’s ‘Project Space 13’
“In films like ‘Hellaware’ and ‘Jobe’z World,’ Bilandic favors the abstract over character development. ‘Project Space 13’ is much more refined and practical; the jokes land better because of the depth and organic qualities.”