There’s something both odd and reassuring that the most hyped young horror director in America today is a full-blown classicist.
Not many films have ever approached the possibilities afforded by the slippery subjectivity of cinematic time so directly.
Martin Scorsese’s affection for cinema is, of course, no surprise, and Hugo doesn’t shy away from stumping for the cause of his Film Foundation.
Like all great cinema, the film is beyond belief.
If Santiago Mitre doesn’t transcend the issues of the writer’s film with quite the grace of A Separation, he nonetheless manages to make good use of a fine cast.
Mohammad Rasoulof’s Good Bye brings Rossellini’s ‘50s to today’s Tehran.
An intensely intelligent look at American history and a blueprint for how to (un)make it, from one of our country’s finest directors.