In this rueful film about all things unseen, the importance of time is seemingly felt by everyone.
The film sidesteps all ambiguity, revealing everything about its characters straight away.
Happy as Lazzaro is one of the sharper, and funnier, recent films to reckon with the injustices of class disparities.
Ismael’s Ghosts simultaneously collapses and expands Arnaud Desplechin’s entire body of work.
Given its nearly episodic structure, formal choices, and similar thematic inquiries, Sworn Virgin suggests an unofficial remake of Vivre Sa Vie.
Bellocchio’s aesthetics reflect the conversation between past and present in imaginative ways.
Throughout, Saverio Costanzo hypocritically drapes his scenes in a cloak of faux-empathy.
Though Virgin Mountain is the English title, its Icelandic title, Fusí, seems more fitting.
It mixes the mundane with the absurd to create a sometimes fabulous tale that always feels palpably real.
The film puts too many elements into play, which means it ends up darting hopelessly between a series of underdeveloped storylines.
The film attests to Bellocchio’s technical mastery and formidable empathy.
Silvio Soldini’s meticulously paced Come Undone is about the fantasy of attraction evaporating over time.
The central story is rich enough to overcome much of Luca Guadagnino’s odd and arguably unmotivated catalogue of visual and aural trickery.
The film is a darling relationship drama that probes our collective fears about financial instability.
It moves so playfully and briskly you may not notice its glibness, which may have been director Daniele Luchetti’s intent.