Bertrand Mandico’s film is the cinematic equivalent of a French Symbolist poem.
Bonello uncannily utilizes burdensome signs and wonders for maximum insight and agitation.
The film quickly settles into a holding pattern of repetitive porno-movie hijinks and increasingly listless murder scenes.
The solid transfer will allow home viewers to fully experience Cattet and Forzani’s unrelenting, expressionistic assault on the senses.
Hélène Cattet and Bruno Forzani lose grasp of the snap and tension that drive even a mediocre heist narrative.
Andrea Pallaoro’s Hannah attains a discomfiting intimacy in its chilly examination of a woman coming undone.
The film creates a deeply rooted sense of realism that contrasts the austere, surreal illustrations.
The film can sometimes feel as though it takes place inside a nightmare masquerading itself as a harmless dream.
Even when the film hits on some shrewd truths, it always feels timid about digging too deeply into its characters’ inner lives.
Jessica Hausner’s miracle play gives viewers on either side of the fence plenty to meditate on.
The film’s rendering of period sets and costumes with cruddy camerawork makes us aware that the film is a limited dramatic representation of real life.
Jessica Hausner’s film is a deliberately paced examination of Catholic mysticism with sharp sprinkles of magical realism.
Able Danger suggests a hipster version of The Good German—all talk and effusive style.
Strongest among the six selections is, perhaps incidentally, the titular L’Origine de la Tendresse.
Fay Grim is no fool, and as played by Parker Posey, she’s one marvelous creation.
A so-so J-Horror remake with an excellent performance by Jennifer Connelly.
Jennifer Connelly soulfully pinpoints the fearful protectiveness of a mother confronting the possible loss of her offspring.