TIFF 2018: Director Laura Luchetti on ‘Twin Flower’ and the Art of Giving Shape to a Story
Bedatri Datta Choudhury Interviews Italian Director Laura Luchetti
TIFF 2018 Review: Peter Farrelly’s ‘Green Book’
“‘Green Book’ becomes more than a comforting story of a friendship that today would actually be perfectly likely when its baseline intersectionality shows its limits.”
TIFF 2018: Interview With ‘Dogman’ Actor Marcello Fonte
Marshall Shaffer Interviews Italian Actor Marcello Fonte
TIFF 2018 Review: Felix Van Groeningen’s ‘Beautiful Boy’
“‘Beautiful Boy’ occasionally veers into prevention video territory, but the despair and forced acceptance that David goes through show a side of fatherhood that cinema rarely confronts. Sometimes, your child has to help himself.”
TIFF 2018: Like the Hope of Rain After a Long Summer – A Review of John Butler’s ‘Papi Chulo’
“Apart from fantastic performances from its cast, especially Bomer and Patiño, Papi Chulo’s biggest strength is the subtlety and grace with which it deals with the wide cross-section of issues it touches upon.”
TIFF 2018 Review: Alfonso Cuarón’s ‘Roma’
“Anchored by a deeply sympathetic performance from Aparicio, ‘Roma’ is an empathetic, sentimental, stirring delight.”
TIFF 2018 Review: Jonah Hill’s ‘Mid90s’
“The influence of Larry Clark’s 1995 cult film ‘Kids’ may be all over ‘Mid90s,’ but Hill has a more tender and perhaps more realistic approach of his young subjects: they are smart enough to know when they’re going too far.”
TIFF 2018: One Small Step – A Review of Damien Chazelle’s ‘First Man’
“What ‘First Man’ might lack in emotionality, Chazelle more than compensates for in spectacle.”
TIFF 2018 Review: Xavier Dolan’s ‘The Death and Life of John F. Donovan’
“For a film revolving around an actor destroyed by a bad reputation, ‘The Death and Life of John F. Donovan’ remains frustratingly vague about the media’s indiscretions that bring John’s downfall.”
TIFF 2018 Review: Sara Colangelo’s ‘The Kindergarten Teacher’
“‘The Kindergarten Teacher’ is purposefully not a comfortable watch, but it satisfies in many ways. Not only is its central character an imperfect woman, but she also expresses her palpable rage in a strange and fascinating form of intellectual violence.”
TIFF 2018: Embracing the Oxymoronic – A Review of Jacques Audiard’s ‘The Sisters Brothers’
“Audiard finds the real drama of the film in how the seemingly boundless promise of the land collides with the very real limitations of the human imagination and body.”
TIFF 2018: The Never-Ending Ruminations of Olivier Assayas – A Review of ‘Non-Fiction’
“For a film about an eternal conflict, ‘Non-Fiction’ is a strangely calming film. It quietly assures you that while a fight for permanence is natural, the need to change is also equally natural.”