Kirill Serebrennikov’s blackly comedic fantasia paints a none-too-rosy picture of Russia.
Official Competition is another film about filmmaking, but it escapes hermeticism by homing in on actors and acting.
Lost Illusions leans heavily on voiceover narration that, for better or worse, draws attention to its novelistic mode of its storytelling.
Georgis Grigorakis’s film may not revolutionize the western genre by transposing it to an unlikely setting, but it doesn’t dilute it either.
If the film-within-the-film is a vapid fetishization of women’s martyrdom, Lux Æterna is a willful exercise in repulsing its own audience.
Brian Pestos’s flair for go-for-broke zaniness transmutes what might otherwise have been a lump of self-indulgent clichés into gold.
The push and pull between gradual buildup and apocalyptic rupture allows the film to infiltrate the mind and recalibrate our sensitivity to time.
Throughout Paolo Sorrentino’s film, the line between miracle and cosmic prank, even tragedy, is rendered indistinguishable.
The film's violent set pieces are imaginative, but as symbolic comeuppances for the victims’ sins they can feel forced, even moralizing.