Vague Visages Is FilmStruck: Stefen Styrsky on Takeshi Kitano’s ‘Boiling Point’
“Kitano possesses an eye for color and mise-en-scène. Passages often become works of visual art in themselves.”
An Interview with ‘You Were Never Really Here’ Cinematographer Tom Townend
Sam Ankenbauer Interviews Cinematographer Tom Townend
A Terrain of Violence: Clio Barnard’s ‘Dark River’
“‘Dark River’ excels in the areas where Barnard has already proven herself adept: she draws stellar performances from her cast across the board, and creates a vibrant naturalism without sacrificing tone or style.”
Vague Visages Is FilmStruck: Ciara Pitts on Donna Deitch’s ‘Desert Hearts’
“Deitch’s trailblazing film demonstrates that representation will always be essential.”
Vague Visages Is FilmStruck: Stefen Styrsky on Elia Kazan’s ‘Splendor in the Grass’
“The movie isn’t just about the way it was, the prudish hypocrisy of an earlier time, or outdated sexual mores. For all its provincialism, ‘Splendor in the Grass’ is a story for the ages.”
NoBudge Breakdown: June 18-24, 2018
NoBudge Breakdown is a weekly round-up of featured films at NoBudge.
VV NOBUDGE PICK OF THE WEEK: Parker Hill’s ‘Homing In’
Vague Visages Is FilmStruck: David Pountain on Takeshi Kitano’s ‘Sonatine’
“From its hypnotic style to its pessimistic plot and languid pacing, ‘Sonatine’ is a mesmerizing manifestation of the troubling logic of Murakawa’s final decision.”
You Gotta Act: It’s Paul Rudd’s Time
“The sentiment that Hollywood doesn’t respect comedy persists, but Rudd is living proof that laughter is the secret to eternal youth.”
Vague Visages Is FilmStruck: John Ford’s ‘The Searchers’
“‘The Searchers’ has moments of low-brow comedy and moments of penetrating tension, its interconnected themes involve love and guilt, and its visual and spiritual essence falls somewhere in the realm of poetic melancholy.”
Review: Claire Scanlon’s ‘Set It Up’
“As a showcase for two actors who more than deserve their moment to shine, ‘Set It Up’ is hugely satisfying. As a modern romantic comedy, it’s glorious.”
Vague Visages Is FilmStruck: Ciara Pitts on Abdellatif Kechiche’s ‘Blue Is the Warmest Color’
“‘Blue Is the Warmest Color’ might be most well-known for its lengthy sex scenes, but the gripping romance, elaborate imagery and realistic demonstration of the human experience are what truly keeps the film’s legacy alive.”
Vague Visages Short Stories: Find Your Perfection by D.M. Palmer
Vague Visages Short Stories #10: Find Your Perfection by D.M. Palmer (Sheffield, UK)
See and Be Seen: Aaron Schimberg’s ‘Chained for Life’
“In a borough of New York teeming with independent and micro-budget filmmakers, Aaron Schimberg is one of the handful to keep an eye out for with every new work that he makes.”
Lost Amidst the Architecture: Aaron Katz’s ‘Gemini’
“In straining to emulate something in the order of a traditional thriller, Katz and his team of long-time collaborators find themselves sliding perilously towards the formulaic.”
Telling Stories in Order to Survive: ‘Argo’
“‘Argo’ allows you to enjoy the CIA’s outlandish caper, but it also confronts you with the ambivalence of the larger picture.”
Jim McKay’s ‘En el Séptimo Día’: An Immigrant Fairy Tale
“With flexible, transparent cinematography by Charles Libin, the film captures, beat by beat, moment by moment, José’s actions and movements as he bikes, makes deliveries and encounters his boss, friends and customers.”
Permanent Shadows: Rosalind Byrne in Buster Keaton’s ‘Seven Chances’
“Put simply, Rosalind Byrne changed how I think about cinema. Yes, film is largely about fiction, but in the recording of these fictions, there is an accidental reveal that says so much about who we are and what we think.”
Hell in the Mirror of Heaven: An Interview with Cold Cave’s Wesley Eisold
Leslie Hatton Interviews Cold Cave’s Wesley Eisold
Vague Visages Writers’ Room: Weekend Vibes 6.8.18
Weekend Vibes is a Friday column about streaming recommendations, new release hype and entertainment events.
Ari Aster’s ‘Hereditary’: Hollow Horror
“What’s truly terrifying about ‘Hereditary’ is how empty it really is.”