The film elides politics in order to earnestly consider whether love is necessarily an act of possession.
Criterion has graced us with an intoxicatingly beautiful release of a strange and challenging film.
True/False Film Fest 2014: The Vanquishing of the Witch Baba Yaga, Manakamana, & Concerning Violence
To call Jessica Oreck’s The Vanquishing of the Witch Baba Yaga “hypnotic” would be too easy.
Carlos Reygadas’s latest, an almost impossibly intellectual film, keeps us at a remove that’s as striking as that which separates its main character from the lower classes.
Giving yourself over to Reygadas and trusting him to deliver in the end is rewarding even without a clear-cut roadmap.
The Mexican auteur discusses all that’s unspoken in this poetic vision.
Reygadas’s new film is a textbook example of how to tell a basic story in the most complicated, off-putting manner conceivable.
Like most omnibus movies, Revolución is uneven and sometimes underdeveloped.
Only Fernando Eimbcke’s The Welcome Ceremony, the first episode of this anthology film, is a marvel of short-form filmmaking.
You know the old joke about a Monet looking better from afar?
Save for Silent Light’s bookend sequences, Reygadas works mainly in the implicative margins.
The battle that’s waged here is against conventional artistic expressions of political and sexual turmoil.
Throughout, Carlos Reygadas likens our disgust for his nonchalant sex scenes as a form of political reticence.