Vague Visages Is FilmStruck: Ingmar Bergman’s ‘Fanny and Alexander’
“‘Fanny and Alexander’ is an easily entertaining primer to the cinema of Ingmar Bergman…”
Calendars, Storms and Coming Home: Rituparno Ghosh’s ‘Unishe April’
“To understand Ghosh’s cinema, it is important to understand the director’s gradual but persevering separation from gender binaries and roles.”
The Comfort of Shared Pain: Ingmar Bergman’s ‘Scenes from a Marriage’
“Bergman doesn’t need tricks because the simplicity of what he’s presenting will cut you to the core if you open yourself up and let it in.”
Faith and Survival: Celebrating Christopher Nolan’s ‘Dunkirk’
“I contend that not only has Nolan grown as an auteur, but that he has perfectly captured a universal truth to which all may relate and celebrate.”
Vague Visages Is FilmStruck: Marshall Shaffer on Ingmar Bergman’s ‘Silence of God’ Trilogy
“I’m convinced that understanding the progression is a crucial bridge in any attempt to understand how the two distinct portions of Bergman’s filmography interact.”
Vague Visages Writers’ Room: Weekend Vibes 2.16.18
Weekend Vibes is a Friday column about streaming recommendations, new release hype and entertainment events.
An Interview with ‘Thelma’ Director Joachim Trier
Sean Patrick Interviews Norwegian Director Joachim Trier
A Retreat into the Self: Introspection and Egoism in Ingmar Bergman’s ‘Wild Strawberries’
“Bergman’s penchant for giving physical form to the conscious and subconscious mind is rarely more apparent than in his 1957 masterpiece ‘Wild Strawberries.’”
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.”
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.”
Vague Visages Is FilmStruck: Jeremy Carr on Louis Malle’s ‘Black Moon’
“Communication — or the lack thereof — is key to ‘Black Moon.’”
Hidden Gems of Soviet Cinema: On Sergei Loznitsa’s IDFA Top 10
“Now free to travel, these films now face the trouble of traveling well.”
‘Stardust Memories’: Woody Allen’s Comic Catharsis
“He may be suggesting that emotional and social anxiety is widespread and prevalent, but the key distinction is that not everyone can translate these uncertainties into comedy gold.”
DIFF 2017 Reviews: ‘Sweet, Sweet Lonely Girl’ and ‘Los Presentes’
“The ambition and concept are good to have, it just takes a lot more work to match the craft and care of Bergman, Altman or Lynch.”
The Many Peculiar Virtues of Wes Craven’s ‘My Soul to Take’
“As the second last film in one of the great contemporary horror filmmaker’s careers, it’s an extraordinary example of artistic self-reflection and development.”
Capitolo 20: Intro / Ermanno Olmi’s ‘Il Posto’ / Cosa Sei Disposto a Perdere
A Series on Italian Cinema by Q.V. Hough
Review: Cary Joji Fukunaga’s ‘Beasts of No Nation’
“As an empathetic machine, Beasts of No Nation tries too hard to convey the unimaginable, leaving in its place a sense of cold insouciance towards a system that is shown to be irreparably broken.”
Review: Alex Ross Perry’s ‘Queen of Earth’
“An intimate character study of a shifting, indefinable character, Queen of Earth pushes the already exceptionally talented Elisabeth Moss to new levels of intense frenzy and naked emotion.”
Q.V. Hough’s Top 10 Films of 2014
Q.V. Hough’s Top 10 Films of 2014