Rohrwacher and O’Connor discuss the ethereal qualities of the film’s main character.
The film is a liberal fantasy stuck in the 2016 vision of the future from which it sprung.
Thomas Hardiman’s film is ultimately unwilling to give into supreme superficiality.
A Galaxy of Conspiracy Chaos: William Richert’s Winter Kills, Presented by Quentin Tarantino
The history of Winter Kills is nearly as lurid and tangled as the conspiracy it depicts.
The film’s repetitiveness is conceptual, embodying Chilean cinema’s most prominent motif.
Even when the film becomes something like a thriller, it never loses sight of its political themes.
In the end, Love Life feels like a pale imitation of one of Fukada’s more grandiose melodramas.
These films show us utopias, dystopias, distant planets, and our own Earth destroyed.
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Larry Fessenden’s film is a work of fascinatingly conflicted, far-reaching curiosity.
Meg 2 is well served by deliriously dialing up the camp factor.
The film goes to show that humanism and absurdism are often two expressions of the same face.
Whishaw discusses challenges of not playing subtext, acting everyday emotions, and more.
Travolta’s scenes are islands of tranquility in a jittery sea of rote crime-movie pyrotechnics.
The film knows who it wants to reach, and speaks directly to them without pandering to them.
The elegantly underplayed performances ensure that the film never succumbs to melodrama.
The film was made with the utmost commitment to authentic representations of rez life.
D. Smith discusses earning her subjects’ trust, the sterility of documentary tropes, and more.
The twin filmmakers discuss why they’re keen to engage with interpretations of Talk to Me.
There’s an engimatic quality to the role of Nolan in the current filmmaking landscape.
The film handily invokes the campiness of the iconic Disneyland attraction, if not its kinetics.