The focus on Ferragamo’s craft is exciting, but the narrative’s tendency to embody the opposite of the designer’s innovativeness feels lazy and contradictory.
Aly Muritiba’s film is always telling the viewer that death-ness and trans-ness bear the intimacy of Siamese sisters.
Léonor Serraille’s Mother and Son is a lovely film about feminine strength that also refuses to glorify motherhood.
There’s no surprise to recognize that FIDMarseille’s most obvious qualities are its lack of pretense and penchant for experimentation.
Hayakawa Chie reveals a culture that seems almost mobilized to destroy its own soul.
Once the film digresses from its focus on lovers trying to learn from love’s failures, its desperation becomes unmistakable.
Throughout Cow, a kind of affective connection is formed between animal and the cinematic apparatus.
Grasshopper’s excellent home video release highlights the aesthetic and tonal complexity of its minimalist approach.
In Great Freedom, the question of love is refreshingly never too far from bodily intimacy, irrespective of what kind of love that is.
Marry Me plays out as the logical culmination of a multi-hyphenate icon’s indiscriminate commercial voracity.
Feelings are unutterable and intimacy unbearable in the Japan depicted in Kudo Riho’s Let Me Hear It Barefoot.
Death and childhood haunt Pénélope My Love and Malintzin 17.
The film makes no attempt to embody the themes that form the core of Annie Ernaux’s story in its aesthetics.
For a while, though, Olivia Colman’s performance carries the film, with little narrative distraction or stylistic conspicuousness.
As we re-enter the circuit of in-person film festivals, the peculiarities of the physical world feel just as alluring as the movies themselves.
For too much of its running time, Hit the Road is untethered from any kind of captivating narrative purpose.
Swamy Rotolo’s face is rife with the ambiguities that the film’s narrative lacks once it pivots into thriller mode.
Pietro Marcello, Francesco Munzi, and Alice Rohrwacher’s documentary rather faithfully captures the spirit of our times.
The film is a tale of how the desolation of a nation inhabits and engraves a woman’s body.
The film ultimately trades its main character’s account of her own suffering for her therapist’s pathologizing assessment.