Tsai Ming-liang seems to say that, even in a world rigged against queerness, certain things can’t still be shared.
The film is an unending source for the worst possible clichés and most overdone series of graphic matches in the history of film editing.
Camera, character, and cameraperson are one throughout, and the effect is exquisitely suffocating.
Garrel illustrates the absurdity behind the myth of the complementary couple without humor or wit.
It’s difficult to imagine Rotterdam as a place where a film festival isn’t taking place at all times.
Li Cheng gets much closer to capturing his characters’ predicaments when he trusts the images alone.
Nikolaus Geyrhalter doesn’t give up aesthetic experimentation altogether in this survey of Anthropocene calamities.
Only rarely does Karim Aïnouz allow for loopholes to refreshingly emerge from the film’s stylistic deadlock.
The drama here is in the gap between bystanders who return the camera’s gaze and those who don’t.
It’s fascinating to see Benedetta Barzini in academic action, like an ethnographer of the patriarchy herself.
Only Marisa Tomei’s face can compete with Huppert’s ability to turn even the sappiest of scenarios into a nuanced tour de force.
Erin Derham’s unadventurous aesthetic inoculates her from taxidermy’s subversive spirit.
The film’s mid-act about-face lends a refreshing sense of complexity to an otherwise superficial depiction of Wrinkles.
Laxe’s film refreshingly occupies an almost uncategorizable cinematic realm.
Justine Triet is committed above all else to the tricks that memory and language can play on us.
Kino’s Blu-ray gifts us with a beautiful transfer of a classic of French poetic realism.
Hari Sama never quite manages to seamlessly sync the film’s anti-bourgeois political commitments to its soap-operatic register.
The festival feels like a long-awaited apparition in a place where events of its magnitude might be scarce.
Marie Losier’s empathy, if not love, for Cassandro hinders her from examining his wounds with much depth.
We never spend enough time with the characters to believe the urgency, and lushness, of their cravings.