“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.”
Here’s Josh Slater-Williams on four underrated gems of the past year.
“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.”
“Mistress America revels in the romance of being young before carefully setting its characters back down into the real world.”
A Weekly Column on Love and Erotica in Cinema by Justine A. Smith
Jaime Grijalba, a Chilean writer, comments on the exploitation of his country’s cinematic landscape.
Justine A. Smith Interviews Philippe Falardeau
“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.”
“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.”
“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 is a bi-monthly series of essays that examines films within the label of “queer cinema.”
“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.”
“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.”
A Weekly Column on Love and Erotica in Cinema by Justine A. Smith
“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.”
“Will Ed and Peggy get what they deserve? What do they deserve, exactly?”
“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.”
“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.”
“One of the bright spots about Season Two is how The Leftovers has given each cast member their own episode to shine.”
A Column by Dylan Moses Griffin