Refn discusses his love of fairy tales, falling through the rabbit hole of streaming, and more.
Faith, in one way or another, seemed to be on trial frequently at the 30th CIFF.
Only one feature, Les Saignantes, and one short, The Colonial Friend, struck me as unqualified masterpieces.
Who gets to call it art?
This installment focuses on nonfiction film, the hazards of independent distribution, and Cheshire’s own filmmaking debut, a documentary titled Moving Midway.
Today’s “5 for the Day” pays tribute to that which comes just before the closing credits: the parting shot.
The Scary Movie franchise seems well on its way to becoming as indestructible as Jason Voorhees or Freddy Krueger.
The film is a master-class mosaic of aural detail and visual sleights of hand.
The finale reveals the detrimentally hamfisted influence of the Sundance Institute on an otherwise entrancingly mournful film.
The key to understanding Terrence Malick’s intent can be found in a camera move that begins the denouement of Days of Heaven.
This Italian gothic is immediately engrossed by the stagnant air that enshrines its milieu.
The main character’s distress is laid out with minimal fuss or pretense.
Ivan Sandomire’s fine performance as Mendy makes this one impossible to dismiss.
Cheshire was open to discussing how the changing times broadened his interests in film and filmmaking.
The then-thriving disco label Casablanca Records’s studio showcase flick Thank God It’s Friday feels like a quarterly preview reel shown to stockholders.
There are worse things than catching your parents doing the dirty, like watching a film reduce an African nation’s black populace to window dressing.
Robinson Devor’s Police Beat is akin to an Epcot Center attraction.
Resisting the conventions of the traditional biopic at every turn, the film never finds its footing as a story.
The Wild is too slipshod to even decide on the level of its animals’ anthropomorphism.
Everyone in this delusional fantasy is a tool for Nnegest Likke to make her grandstanding social message.
Sketches of Frank Gehry, Sydney Pollack’s first stab at documentary filmmaking, is itself something of a rough draft.