Swamy Rotolo’s face is rife with the ambiguities that the film’s narrative lacks once it pivots into thriller mode.
Both films come from a period in Chabrol’s filmography that finds him moving away from the naturalism of his early New Wave films.
The actor discusses how he found the physicality of his character and the difficulties and joys of doing verbal comedy in German.
If ever the world needed to be reminded of cinema’s world-making possibilities, it’s certainly now.
Birds of Paradise lacks the nuance and finesse needed for its story to really take flight.
Riz Ahmed discusses art as therapy and what it's like to play a character who parallels his personal life and history.
The film's devotion to the quotidian aspects of a mythical small-town western life is nearly religious.
The emotional planeness of the film’s aesthetic too frequently robs all the cathartic eruptions of emotion of much of their power.
The film looks at times like a stiff-jawed period piece, but it ripples underneath with a prickly modern sensibility.
The film effectively immerses us in the wrenching details of Amin’s story, but it keeps us just a bit too far removed from the man himself.
The film works harder to fix the problems with its source material than to establish itself as an independent piece of art.
In spite of the film’s troublingly naïve take on mental trauma, Riz Ahmed vividly and empathetically captures a man’s wounded soul.
Surge’s camerawork may leave viewers feeling like they just stepped off of a merry-go-round.
The film persuasively sheds light on the grievances of the Palestinian people that have long fallen on deaf ears.
The film is an offbeat epic informed by a reverence for the past and a delicate wariness toward the future.
The film meticulously evokes a 1961 speleological expedition, but its search for thematic resonance is frustratingly general.
One Second is as much a tribute to the struggles of a man whose life has stolen from him as it is to a bygone way of looking at movies.
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