The film carries the almost exotic interest of its milieu as well as deeply personal overtones.
Throughout, Lynne Sachs undercuts the image of the past as simpler or more stable than the present.
Only Marisa Tomei’s face can compete with Huppert’s ability to turn even the sappiest of scenarios into a nuanced tour de force.
Director Ira Sachs transforms the smallest blip on life’s radar, a childhood friendship, into a momentous occasion.
Sachs spoke with us recently about the genesis of Love Is Strange and his feelings about love and New York City.
The push for heartrending poetry makes it clear that the film is putting too fine a gloss on the acute pains of one small tragedy.
Sachs, a longtime resident of the Big Apple, dreams of creating a queer-arts renaissance in his adopted city.
The annual flood of see-them-or-be-left-out titles will pummel your poor movie-buff planning like a surging tsunami.
The film is a throbbing tale of lust and love, an aching chronicle of a relationship’s fall, a heartbreaking account of addiction.
Keep the Lights On explores the ways in which one lover’s drug abuse steadily undermines a couple’s mutual trust.
The website, designed by Joshua Sanchez, offers further information on those included in the film.
It has often been said that Ludlam had two modes for his plays: tight and sprawling, and these two films neatly fit that paradigm.
Married Life is only interested in its own ironic machinations.
Motivations are constantly being re-examined in the film, though Ira Sachs never privileges one point of view over another.
A series of alternate takes/deleted scenes are of primary interest for the shades they add to the character of Laura.
The film is one for the ages, and in anticipation of its first-run release, we met with Sachs at his office in downtown Manhattan.
With just two features director Ira Sachs has created a distinctive, deliriously beautiful aesthetic.