The festival’s greatest singularity is two-fold: its lack of pretense and judicious curatorial eye.
Marston doesn’t take the easy road. Perhaps that’s what makes him—and his films—so compelling.
Even at its messiest and most meandering, the film exudes a refreshing warmth toward its characters.
For this list of 15 standouts, the door was open to hallucinations, inanimate objects, and even different species.
We spoke to him about his upcoming solo shows, the painstaking metaphysics of songwriting, and how three year olds occasionally come up with the best titles.
The 40-odd festival titles I caught at Rotterdam this year offered consistent amazement.
Hell on Earth? Not quite.
“The most corrupt cop you’ve ever seen on screen,” reads the tagline on Rampart’s poster. These badge-defilers would beg to differ.
Walter Hugo Khouri is an undervalued master.
On the phone from L.A., the writer-director chatted with Slant about his experience making Rampart.
The Pornographer is exemplary of the Boca do Lixo’s comic style, much of which revolves around fantasy.
We caught up with Bromberg to discuss what it’s like playing for drugged-up audiences and how the profession of being a touring musician brings out masculine angst like no other.
The Red Light Bandit is an electric, legendary movie, one Brazilian cinephiles know practically by heart.
Witches, wives, and even Whoopi made this list of women who sport only the darkest uniforms.
It’s certainly ambitious in its attempt to reveal the dark underbelly of much of today’s comedy.
The films we consider historically vital are usually films we can easily see.
There’s something both odd and reassuring that the most hyped young horror director in America today is a full-blown classicist.
The story of Boca do Lixo filmmaking began a few years before any of its movies.
It strives for a handheld immediacy and raw emotional power that it only intermittently achieves.
In the 1960s, a branch of Brazilian cinema emerged so daring, thrilling, and varied that in hindsight people disagreed even over what to call it.
As with any auteur (and I don’t hesitate to use that vaunted word here), it helps to recognize where the filmmaker is coming from and what he hopes to achieve.