Its intention is to put human faces to ISIS recruits, but its representation of radicalization is still uncomfortably one-sided.
André Téchiné does justice to the closeness between repulsion and desire, difference and sameness.
Masculinity here is simply a drive, not a commitment to specific objects of desire with specific genitalia.
Too worried about narrative fidelity and formal objectivity to pierce the veil of power dynamics that largely comprises the film’s concerns.
French director André Téchiné’s reputation for unruly, melodramatic narratives is set in stark relief by 1979s The Bronte Sisters, a richly restrained, formalist work ripe for reappraisal.
You know the drill: No guild is better at predicting the winner of the Best Picture Oscar than the Directors Guild of America.