“We are all mediocre writers when we start, and we must engage with others’ mediocrity throughout our careers. But we must engage with it level-headedly, picking out the good from the bad and making those distinctions to the best of our ability.”
“The continual resistance to progressivism by French film culture at large is up to them to figure out, from Cannes’ inability to put more than four women in competition in a given year to Cahiers du cinéma being sacrificed in the name of quality French cinema…”
“Why are we watching if the director’s gaze — and hence our own — makes us feel like we’re intruding spaces that should be left otherwise untouched?”
“‘Sweet Thing’ is creatively shot and bursting with energy, but Rockwell’s biggest ambition is seemingly to replicate a bunch of ideas from other films, to put visuals to his favourite songs and to showcase his talented family.”
Swedish Film Critic Jakob Åsell on the Sounds of Berlinale 2020
“Ferrara throws everything at ‘Siberia,’ turning it into a playground for emotive relation. But it is Dafoe, his muse, who so thoroughly brings the audience along with the randomness…”
“Reichardt’s story has the mythic quality of a fable, but refrains from moralising or casting judgement on the misdeeds and mistakes of its characters.”
“Hong Sang-soo’s cinematic apparatus might seem limited to some, but it’s in the endless repetition of the same movements that perfection is achieved.”
“Petzold’s use of fairytale is rote, but – as a piece of Sirkian high melodrama – ‘Undine’ is eminently satisfying.”
“Similarly to its lead, ‘Mogul Mowgli’ indicates its awareness of the big themes tied to the experiences of young British-Pakistani men, but doesn’t quite do all the legwork required to properly manifest a thesis.”
