Review: Jason Moore’s ‘Sisters’
“Sisters is a house party film told by and from the perspective of women, and that is precisely why it succeeds.”
‘The Profound Desires of the Gods’ Is a Great Example of Film Excess
“Throughout much of his 60s work, Imamura often examined the balance between ordinary and unordinary people, and in The Profound Desire of the Gods, he finds an exceptional way of highlighting the extremity of this concept.”
A Humanistic Conclusion: Fargo ‘Palindrome’ (Recap)
“Even removed from the extraterrestrials and murderous Midwestern crime families, the world of Fargo is a violent and disturbing one, and Hank attempts to do his part by creating an Esperanto-like universal language.”
Some Great Directorial Debuts You May Have Missed in 2015
Here’s Josh Slater-Williams on four underrated gems of the past year.
Review: Tetsuya Nakashima’s ‘The World of Kanako’
“For all its frenetic editing, energetic performances and twisty narrative structure, there is sadly an elephant in the room, and that’s the film’s treatment (or mistreatment) of women.”
2015 in Review: Noah Baumbach’s ‘Mistress America’
“Mistress America revels in the romance of being young before carefully setting its characters back down into the real world.”
Of Love and Other Demons: ‘Dead Ringers’ (David Cronenberg, 1988)
A Weekly Column on Love and Erotica in Cinema by Justine A. Smith
Conspiracy Theories: Eli Roth’s ‘Knock Knock’ and Chilewood
Jaime Grijalba, a Chilean writer, comments on the exploitation of his country’s cinematic landscape.
Interview with Philippe Falardeau, Director of ‘Guibord s’en va-t-en guerre’
Justine A. Smith Interviews Philippe Falardeau
Review: Terence Davies’ ‘Sunset Song’
“Featuring a standout performance from Agyness Dean and some of the best landscape photography since Mr. Turner, Sunset Song strikes a balance between toil and ecstasy that is at once overwhelming and completely uplifting.”
A Surreal Massacre: Fargo ‘The Castle’ (Recap)
“Like the film, as much as Fargo looks like it’s set in our universe, dashes of the absurd emphasize that the series works under its own logic.”
Like Its Characters’ Christmas Plans, ‘Krampus’ Is More Fun in Concept Than Execution
“As it is, it’s like a stocking crammed with too many little bits and bobs that came to mind for the stocking-stuffer, ultimately pleasing no one like one or two well-considered big gifts would have.”
Lust, Caution: Barbara Hammer’s ‘Nitrate Kisses’
Lust, Caution is a bi-monthly series of essays that examines films within the label of “queer cinema.”
Where Is My Mind?: The Leftovers ‘I Live Here Now’ (Recap)
“If this is the last hour we spend watching The Leftovers, then “I Live Here Now” is certainly a historic one that successfully doubles as both a season finale and a series finale.”
His Blazing Automatics: For Your Year-End List Consideration – John Maclean’s ‘Slow West’
“Simply put, Slow West is unlike anything out there this year and deserves to be recognized as one of the most unique works of 2015, as it only grows and develops with each viewing.”
Of Love and Other Demons: The Toxic Masculinity of Michael Cimino’s ‘Year of the Dragon’
A Weekly Column on Love and Erotica in Cinema by Justine A. Smith
Review: Tom Browne’s ‘Radiator’
“Radiator never actually “deals” with any of the lofty existentialisms it digs up, firmly positing that they should remain the unknowable, unthinkable aspects of life.”
Do You Actualize?: Fargo ‘Loplop’ (Recap)
“Will Ed and Peggy get what they deserve? What do they deserve, exactly?”
Short but Sweet: The UK Film Festival
“With its diverse range of attendees and entries, as well as the festival’s strong showing at the 64th and 65th Berlinale, The UK Film Festival seems to have a very strong future in the heart of London.”
Review: Alanté Kavaïté’s ‘The Summer of Sangaile’
“Not without its flaws, The Summer of Sangaile is a piece of breezy, sumptuous Sunday-afternoon enjoyment for those that don’t mind taking the time to watch the scenery and allow the story of gentle teenage love to wash over.”