Director Angela Schanelec's take on the effects of grief might be less inscrutable than her previous film, 'The Dreamed Path,' but that doesn't make it any less challenging.
It's never about interpretation, it's never about meaning, it's never about where we are going. Maren doesn't ask these because films are not about where we are going. (laughs) It's about a scene. Then another scene.
Director Bertrand Bonello dabbles in the zombie movie genre and turns it into a cautionary tale in the post-colonial, multi-ethnic France.
As 2019 comes to an end, ScreenAnarchy’s global team of critics and cineastes weighs in with our favourite cinematic offerings from the past 12 months, which saw Netflix lead the charge for cementing the legitimacy of the streaming platforms, while...
"I think there is sadness and there is lightness in all things. I don't go out to make a sad movie necessarily. As the saying goes, tragedy plus time is comedy. Then you can get that humor."
Undoubtedly a continuation of Matthew Barney's unique, modern-day myth-making process, the hypnotic images in 'Redoubt' have to be experienced on the big screen.
Synonyms, Nadav Lapid's semi-autobiographical film about a young Israeli man struggling with his country's identity, won him many accolades this year, including the Golden Bear at the Berlinale. The film is greatly aided by its fearless star Tom Mercier. I...
As usual, the film is stunning to look at. Every frame is a work of art. Greatly aided by Leonardo Simões' cinematography and João Gazua and Hugo Leitão's sound work, the film gives the lives of its inhabitants the poeticism they deserve.
A puzzle piece that is never solvable, we instead concentrate on gestures and details inside the frame, in compensation for the lack of dialogue. It's that fragmentary images and colors that we play around our heads long after we leave the theater to make sense of it. Even more so than Godard's, Schanelec's cinema concentrates on the 'visual' part of the medium. It is the best kind of cinema I can think of.
Expertly weaving the current headlines of marine disasters and the ghost story with the female solidarity twist, 'Atlantics' has all the right ingredient to be a success story of a small art film breakthrough, recalling 'Uncle Boonmee Who Can Recall His Past Lives.'
At a glance, without any context of what's happening in Brazil, as the Bacurauans get rid of foreigners and traitors, the film is a silly, tacky man-hunting-man horror movie akin to The Most Dangerous Game or Naked Prey or even Hostel or Ruins. But it isn't. Bacurau highlights the resilience and resolve of Brazilian people against mounting assault of multi-national corporations backed by government military to devastate their beautiful, once burgeoning country in the global crisis era we live in. It's an activist film in a B-Horror movie disguise.
'Zombi Child' digs deeper into hasty western appropriation of everything non-European, non-Anglo American culture. It disregards the cultural, historical, ethnographical significance of the origins of a zombie in exchange for sensationalism. Narcisse's journey back home is more interesting story here.
Certainly different from any other Desplechin film I have watched over the years, but no less intriguing. The love he has for his hometown and its inhabitants are undoubtedly palpable. Desplechin is a master storyteller and humanist. The film is a very moving experience.
Yet it is not as taut as 'Black Coal Thin Ice.' It sets up the motion nicely, but it doesn't have a momentum to follow through its 113-minute running time. Watch it for its beauty. Watch it for atmosphere. The film is still well worth the ticket.
The film works, thanks largely to Tom mercier's physical as well as verbal, at times verging on slapstick level on both counts. The film is often hilarious and at times poignant and filled with manic energy. Shai Goldman's handheld camera work is aces also.
Like most of Serra's work, there is a hint of parody in these shenanigans. I mean, it's actors in wigs stroking themselves in the woods in a movie called 'freedom'. I think with Liberté, Serra reached the new height in his formalist approach to costume dramas.
"New York, New York, a helluva town!" So declare the lyrics by Betty Comden and Adolph Green, set to music by Leonard Bernstein, in On the Town (1944), and it applies equally well today to the city that will host...
With 2020 only half a year away, let's do the mid-2019 Top-Ten thing. We asked our staff of writers and editors what, in their opinion, were the best films this year so far. And because that's too easy, as writer...
Film at Lincoln Center and the New York Asian Film Foundation present the 18th edition of the New York Asian Film Festival (NYAFF), which runs from Friday, June 28 through July 14, 2019. This year's program features another extensive survey...
Film at Lincoln Center and Istituto Luce Cinecittà present the 19th edition of Open Roads: New Italian Cinema, which will unfold from June 6-12. These new crop of films reflects diverse issues facing the country, embroiled in social and political...