Cannes Film Festival Review: Matteo Garrone’s ‘Dogman’
“Garrone is more sorry for Marcello’s corruption than he is frustrated by his naivety.”
Cannes Film Festival Review: David Robert Mitchell’s ‘Under the Silver Lake’
“It’ll take more than a surface-level appreciation of ‘Under the Silver Lake’ to grasp what lies beneath real threats, instinctive desire and a swilling indebtment to the world that has shaped who we are.”
Cannes Film Festival Review: Asghar Farhadi’s ‘Everybody Knows’
“Though it’s not one of Farhadi’s best films, ‘Everybody Knows’ is still an effective, impactful thriller.”
Cannes Film Festival Review: Panos Cosmatos’ ‘Mandy’
“It’s unconventional and provocative, but with such a powerfully invigorating narration and clear passion between the lines, ‘Mandy’ feels like an explosive liberation.”
Cannes Film Festival Review: Wanuri Kahiu’s ‘Rafiki’
“Without being didactic or simplistic, Kahiu shows the widely different ways in which the people around the girls react to their affection to suggest that, although not all Kenyans are homophobic today, lives are still ruined by a pervasive intolerance.”
Cannes Film Festival Review: Cristina Gallego and Ciro Guerra’s ‘Birds of Passage’
“Guerra and Gallego may not have reproduced the surreal images from ‘Embrace of the Serpent,’ but their determination to preserve the history of those who capitalism has destroyed remains as strong and necessary as ever.”
Cannes Film Festival Review: Taylor Sheridan’s ‘Wind River’
“‘Wind River’ is a well crafted, but straightforward, thriller with an interesting setting and social context.”
Cannes Film Festival Review: Roman Polanski’s ‘Based on a True Story’
“The title is, of course, a knowing joke. ‘Based on a True Story’ couldn’t be further from reality.”
Cannes Film Festival Review: Sergei Loznitsa’s ‘A Gentle Creature’
“Sergei Loznitsa goes for absurdist satire, but, unfortunately, the joke’s on him.”
Cannes Film Festival Review: Ben and Joshua Safdie’s ‘Good Time’
“‘Good Time’ plays like little more than a direct-to-video thriller.”
Cannes Film Festival Review: Noah Baumbach’s ‘The Meyerowitz Stories’
“Like a classic stand-up comedian, Baumbach is far more interested in observation than hot button provocation.”
Cannes Film Festival Review: Sofia Coppola’s ‘The Beguiled’
“‘The Beguiled’ plays out exactly as one might expect and never really stretches beyond its contained premise.”
Cannes Film Festival Review: John Cameron Mitchell’s ‘How to Talk to Girls at Parties’
“‘How to Talk to Girls at Parties’ is spirited but doesn’t have anything new to say.”
Cannes Film Festival Review: Laurent Cantet’s ‘The Workshop’
“Like ‘Visages, villages’ and ‘Claire’s Camera,’ ‘The Workshop’ continues a Cannes 2017 trend for the unmatched power of creation and artistic expression, and this film reaches to darker depths than those tales.”
Cannes Film Festival Review: Kiyoshi Kurosawa’s ‘Before We Vanish’
“More than a stage play, the high concept and tonal spasms make ‘Before We Vanish’ feel like an adaptation of a cult manga.”
Cannes Film Festival Review: Kaouther Ben Hania’s ‘Beauty and the Dogs’
“The technical achievement here is considerable, though there is nothing that can match the surprise, and resultant thrill, of watching the opening scene play out.”
Cannes Film Festival Review: Agnès Varda and JR’s ‘Visages, villages’
“Between the enlightened creators, the immensely intimate artwork and the fabulous people they meet, there is never a dull moment in this beautiful piece of cinema.”
Cannes Film Festival Review: Vanessa Redgrave’s ‘Sea Sorrow’
“While ‘Sea Sorrow’ is cinematically stunted, it is clearly made with great passion and belief.”
SANFIC 11: Tired Immigrants and Tired Violence – Jacques Audiard’s ‘Dheepan’
Jaime Grijalba on Santiago Festival Internacional de Cine