Pablo Staricco Cadenazzi Interviews ‘Madeline’s Madeline’ Cinematographer Ashley Connor
“For Paul Schrader, First Reformed’s visual style realizes ideas of transcendental style that he first theorized at the beginning of his career. But that style only works because it serves the story and character he crafted so carefully.”
“‘Velvet Buzzsaw’ is nicer to look at than a urinal signed ‘R. Mutt,’ but like Duchamp’s ‘Fountain,’ I won’t be rushing to see it again anytime soon.”
“Where DC trades in grim realism and Marvel does the whole snarky, joke-a-minute thing, the Shyamalanverse is a flavor all its own, a world where superheroes exist, but they don’t wear capes and their lives are usually pretty awful.”
“Despite sharing a universe with ‘Unbreakable,’ M. Night Shyamalan’s ‘Split’ fits into a deeper cinematic legacy of psychosexual horror, one that speaks to our sense of the uncanny…”
“The vibrant and explosive opening credits sequence sets the tone for an action-packed story that truly feels real and allows women to feel empowered.”
“‘The Village’ is indeed a fantastic movie, and one that deserves more credit. That is the twist that actually matters.”
“Red as warning, as love, as danger, as violence, as prophecy, as passion, as occult mystery: all of these and more are conveyed in the director’s use of the color throughout this story of loss, grief and obsession.”
“In its own histrionic way, the ‘Maniac’ cycle presages a wave of reaction that would draw its power from the patriarchal fear of dispossession.”
Pablo Staricco Cadenazzi Interviews Argentinian Director Mariano Llinás About ‘The Flower’
