Director Ty Roberts’s film is unable to realize that its subject matter is that of a horror story.
These films depict in distinctive ways the process of coping with and even accepting the dead’s presence in our lives.
These films suggest the cinema as another place where we can simulate and reflect on life within and surrounded by natural landscapes.
A certain calculated inconsistency in style and pacing also makes the film feel elusive and estranging.
The film is, essentially, a lecture, with Varda’s talks from multiple events threading together highlights from her oeuvre.
Its intention is to put human faces to ISIS recruits, but its representation of radicalization is still uncomfortably one-sided.
There’s a good chance that a female filmmaker will walk away with the Golden Bear for the second year in a row.
The film’s murder sequences far outlast the onset of disgust, and their intentional ugliness begins to feel hollow.
The documentary brings to the foreground a fascinating and, moreover, beautiful culture lurking in the background of other stories.
Throughout, François Ozon assiduously avoids sensationalism, compiling the story with an almost journalistic sobriety.