‘Ali: Fear Eats the Soul’: Rainer Werner Fassbinder’s Timely Melodrama
“Fassbinder created a masterpiece that is relatable due to his depictions of racism, discrimination and the complexities of identity — themes which still resonate loudly today.”
Conduits of Fear: The Vital Role of The Youth in Horror
“Horror is a genre that believes, rightly, that young people are the future.”
Secret Defense: A Close-Up on Arnaud Desplechin’s ‘Esther Kahn’
“Phoenix delivers an opaque but strikingly physical performance, reminiscent of the women in Charlie Chaplin’s films.”
Norman McLaren: Genius in Motion
“Unconventional but playful, rarely has the avant-garde been so joyful to discover.”
Vague Visages Writers’ Room: Favorite Halloween Movies
In the Vague Visages Writers’ Room on Facebook, freelancers were asked to comment about their favorite Halloween flicks.
‘Halloween II’: Rob Zombie’s Mad Opus on Trauma and the Tendrils of Toxic Familial Ties
“It is the rare film where form and content align at a time when its creator is close to formal mastery and itching for singular experimentation.”
The Haunted House Heartbeat in Dario Argento’s ‘Inferno’
“The real strength of ‘Inferno’ is the dominant sense of terror that Argento creates through his mastery of physical space (shaded by bright reds and blues, contrastive images of grandeur and decay in the production design)…”
Album Review: WHIMM ‘A Stare Ajar’
“This is a trio dwelling on the sharp, atonal edge of post-punk”
Vague Visages Is FilmStruck: Ingmar Bergman’s ‘Summer with Monika’
“Undeniably the central focus of ‘Summer with Monika,’ Andersson’s overt sex appeal somewhat minimizes her remarkable range in the film, her seamlessly oscillating moods and subtle facial intimations.”
CIFF After Dark Review: Patrick Brice’s ‘Creep 2’
“Horror fans may need to adjust their expectations if they’re looking for more frights than laughs.”
New York Film Festival Review: Paul Schrader’s ‘First Reformed’
“The multi-hyphenate filmmaker’s latest seems to anticipate dissection: its formal austerity belies a haphazard, literary-minded indulgence.”
CIFF After Dark Review: Oliver Kienle’s ‘Four Hands’
“‘Four Hands’ is sublime and arresting in its imagery.”
CIFF After Dark Review: Giddens Ko’s ‘Mon Mon Mon Monsters’
“‘Mon Mon Mon Monsters’ actually inspires and entertains while pointedly dealing with a subject that hits close to home for many.”
Devious Dialogues: Mike Thorn and Anya Stanley on the ‘Child’s Play’ Franchise
Mike Thorn and A.M. (Anya) Novak look back at the series entries and provide their thoughts on the newest addition.
Review: Kazik Radwanski’s ‘Scaffold’
“Out of a fractured, tentative world, Kazik Radwanski created a strong and whole short film.”
Why I Wear the Mask: Tom Hardy’s Performances of Limitation
“Behind the mask, lurking within the timbre of the vocal choices, buried beneath the shaped physique, there is truth.”
Album Review: Melkbelly ‘Nothing Valley’
“Melkbelly is hard to pin down; their songs flaunt a flagrant disregard for what many would consider indie rock or punk or post-punk.”
London Film Festival Review: Léonor Serraille’s ‘Jeune femme’
“Dare I say it, but ‘Jeune Femme’ is as ripe for an American remake as any film I’ve seen on this year’s festival circuit.”
London Film Festival Review: Rungano Nyoni’s ‘I Am Not a Witch’
“Shot beautifully, with an imposing yet wholly appropriate classical soundtrack to match, ‘I Am Not a Witch’ is worth the watch.”
London Film Festival Review: Andrey Zvyagintsev’s ‘Loveless’
“Much like ‘Leviathan,’ the film is oppressively bleak.”