“Fifty-three years after initial release, ‘The Umbrellas of Cherbourg’ continues to be a formally and contextually innovative French New Wave production; a film that has influenced contemporary directors such as Barry Jenkins, Damien Chazelle and Joachim Trier.”
“Rohmer cares more about posing questions than providing the comfort of a conclusion.”
“Park demonstrates how the complicated relationship between role-play, desire, secrecy, power and revenge prove ripe for darkly comic (and perverse) fodder.”
“In this promising debut, there is something beautiful about the resignation that humanity can be found in surprising places.”
Vague Visages Is FilmStruck: A Column Devoted to the Streaming Platform FilmStruck
“Scorsese’s latest film channels the same intellectual curiosity and spiritual fervor of his directorial debut, with the addition of nearly 50 years of experience in technical skill and storytelling precision.”
“The cumulative effect of ‘Alice Doesn’t Live Here Anymore’ is one of openness and warmth.”
“In a film that’s otherwise so devoted to giving these women the opportunity to create a new identity, ‘The Handmaiden’ can’t help but peek into their new lives.”
“The plot of ‘Souvenir’ can certainly raise eyebrows, but it is this very absurd quality that adds to the film’s tongue-in-cheek charm.”
Marshall Shaffer Interviews Ana Lily Amirpour
“The film identifies the dark heart of summer, the humid stagnation and sense of dread that is the season’s essence.”
“A deeply affecting and personal vision, it’s an essential entry in the history of eroticism in Canadian cinema.”
A Weekly Column on Love and Erotica in Cinema by Justine A. Smith
“As formally challenging as ‘The Pillow Book’ may be, it romantically creates a love affair unbound by its physical limits, connecting it to past and present through art and literature.”
“With ‘Le amiche,’ Antonioni further bridges the gap between comparatively conservative melodrama and the groundbreaking narrative and visual abstraction he would soon unleash.”
“With ‘A Married Woman,’ Godard appears fully devoted to topical bullet points through an essayistic structure, forgoing conventional narrative, character development or expedient pacing.”
“After viewing ‘A Girl Walks Home Alone at Night’ for the first time, I wondered, ‘Doesn’t a woman have to be at least a little bit monstrous to survive?'”
“Though bleak and at times brutal, ‘Buffalo ’66’ manages to evoke a world of sensitivity that’s, dare I say, rather feminine.”
“As Bridget Gregory in ‘The Last Seduction,’ Linda Fiorentino is like the shock of hearing a gunshot in the dead of night. She embodies, more than any other character, the ethos of the modern femme fatale.”
“An incredible failure, ‘The Rose Tattoo’ has value in understanding the confines of the production code and the importance of good direction.”