“The thrill of a film like ‘Q & A’ comes in watching how Lumet finds new ways to level his criticisms, harnessing the cynicism that has propelled his work and suffusing each frame with deep, corrupting rot.”
“Not quite comedies, not entirely horror movies and not normal family films, Dante’s work continues to impress with the layers each work reveals over time, a key factor in their lasting power.”
“We are all mediocre writers when we start, and we must engage with others’ mediocrity throughout our careers. But we must engage with it level-headedly, picking out the good from the bad and making those distinctions to the best of our ability.”
“In Fassbinder’s conception of West Germany following its chaotic autumn, terror takes on the tenor of performance art; like addicts lusting after a fix, the groupuscule seeks ennobling sensation; they must be satiated by “Something symbolic…”
“Rowland’s direction throughout is clean and deliberate, rarely showy. He evokes the kind of barren small town where there is almost nothing to fight over, although some still find a way. There’s a bleakness to all of it, a greyness.”
“Sumptuously designed, elegantly appointed and spectacularly costumed and coiffed, de Wilde’s fresh rendition has a piquant flavor complemented as much by self-aware sexiness as the abundant pastel hues on display.”
“‘Jezebel’ is a rallying cry for all black girls trying to figure out who they see in the mirror and on the screen.”
“‘Miss & Mrs. Cops’ is a genuinely light-hearted movie which never strays into the emotional register of real life or real pain.”
“Roinsard is so preoccupied with setting up the next twist that ‘Les traducteurs’ does little to establish why viewers should care.”
Marshall Shaffer on Rendez-Vous with French Cinema 2020: ‘On a Magical Night, ‘Perfect Nanny, ‘Deerskin,’ ‘Someone, Somewhere’ and ‘The Dazzled’
“‘The Salt of Tears’ hovers around repulsive aspects of society without fully committing to its own unpleasantness…”
“The problem with ‘Dark Whispers: Volume 1’ is the same as with any horror anthology — the stories are only as good as what’s come before.”
“Whannell’s ‘The Invisible Man’ is an absolute banger, and stands tall as the most spectacular evolution of the story to hit the big screen.”
“‘Fungus II’ is another reminder that not only is Segall one of the most hard-working and talented artists of the last decade, but also a genuine musical omnivore.”
“Mahnaz Mohammadi’s tale of an Iranian mother’s dilemma render the emotional highs and lows of its characters with a naturalistic clarity.”
“Why are we watching if the director’s gaze — and hence our own — makes us feel like we’re intruding spaces that should be left otherwise untouched?”
“‘Sweet Thing’ is creatively shot and bursting with energy, but Rockwell’s biggest ambition is seemingly to replicate a bunch of ideas from other films, to put visuals to his favorite songs and to showcase his talented family.”
Swedish Film Critic Jakob Åsell on the Sounds of Berlinale 2020
“Great art has every piece in intimate communion with the art as a whole. ‘Gretel & Hansel’ takes an elemental approach to the folklore, gasping with the fears of the original material while exhaling a new mystique of its own.”
“Ferrara throws everything at ‘Siberia,’ turning it into a playground for emotive relation. But it is Dafoe, his muse, who so thoroughly brings the audience along with the randomness…”