“After my first viewing of ‘Vivre sa vie,’ I closed my laptop, went out and chopped my waist-length mane to a bob. Movies have always had that mysterious power of making me feel as if I have lived all the lives I see on-screen.”
“The strength of ‘Tabu’ lies in how powerfully sex is captured, offering aural and visual textures that inspire sensorial memories.”
“The tender performance of McKellen, as might be expected, is a reliable anchor keeping things afloat; the actor seemingly relishing a major turn free of mutants and wizardry — a fantasy icon on fine form as a man not fond of the fantastic.”
A Conversation Between Q.V. Hough, Dylan Moses Griffin and Max Bledstein
“Perhaps the water from the beginning of the episode points more towards resurrection than forgiveness, and if the rest of the season is as strong as “Dolce,” one can only hope Hannibal’s fate will point in the same way.”
A Column by Max Bledstein
The Fifth Installment of Jaime Grijalba’s Series on Patrick Modiano
“A BBC Films production from the minds of Outnumbered, What We Did on Our Holiday often looks and feels like an extended sitcom episode rather than a film.”
“Don’t allow yourself to be fooled by the “reveals” of True Detective.”
Part 4 of “Tightrope Cinema: John Cassavetes’ Highwire World” by Phuong Le
“As the plot of Hannibal continues to move forward, it also won’t stop looking back.”
“An interesting, indie-minded horror, Creep’s simplicity adds to its effectiveness as a taught, jarring film.”
Part Two of a Series by Dylan Moses Griffin
“Charlie Manton (The Imitation Game) shows incredible promise as a filmmaker with Beneath Water, as the visual techniques and character staging project someone in command of their own personal style.”
“As a creative whole, the second episode of True Detective was darker than its predecessor, and Nic Pizzolatto’s blatant dialogue ensured that casual viewers would get the hint.”
“Billed as a comedy about sex, Josh Lawson’s The Little Death only manages to explore a small margin of the current sexual landscape.”
“A subdued comedy with some truly inventive gags, The Strongest Man is the culmination of an original voice on the rise more than the triumph of a writer-director already on top.”
“This week’s hour was the first of the season not directed by Vincenzo Natali, and his aesthetic sensibility/attention to detail feels missing throughout the episode.”
An Essay by Dylan Moses Griffin
An Essay by Phuong Le
