François Ozon has a palpable reverence for sleazy escapism, and that’s what makes Double Lover worthwhile.
This is a left-footed and clumsily insistent work, exposing the worst aspects inherent to the Dardennes’ style.
Clément Cogitore understands that there’s nothing more frightening or darker than the human mind.
It exploits the military aesthetics that lend themselves so well to breathtaking sounds and visuals without fetishizing them.
There’s only so many times we can watch Gaspard Ulliel inhale downers and cigarette smoke until the numbness grows palpable.
The Kid with a Bike, now deservedly inducted into the Criterion Collection, reconfirms Jean-Pierre and Luc Dardenne’s reputation as masters of the modern class drama.
Criterion does right by Olivier Assayas’s lovely tone poem, his best film since Late August, Early September.
The past may be decomposing, but the kids are all right.
Joachim Lafosse’s Private Property might be considered a companion piece to L’Enfant.