Just as Fincher’s films process the world through computers, we process our world through computer screens too.
Film Socialisme is often simply beautiful to look at, full of inspired, elusive, and suggestive imagery.
Nagisa Oshima in the ’60s can be classed as a nihilist, his films angrily obliterating nearly everything in sight.
The film respects the monks’ position, and the formal choices reflect that respect.
Even though the movies are alive and well, film itself is turning ghostly.
The film offers some illuminating context in which to fully appreciate John Lennon’s solo albums, especially Double Fantasy.
In the film, characters keep finding new forms, shapes, and alignments to interact with each other in nature.
Sometimes the commentary illuminates an image, providing historical context or enlivening it with a humorous aside.
Poetry nudges us a bit too hard every now and then, mostly when a kindly poetry teacher lectures his class about learning to truly see.
An intellectual achievement rather than a visceral or emotional one.
Directors aren’t the only auteurs.
Naturally, because the film is so single-mindedly focused on Ceaușescu from the outside, psychological insight is limited at best.
The Mexican Revolution wasn’t one rebellion, but several.
Beefing about snubs has become an annual sport, but committee deserves credit for filling the slate with a range of intriguing, less buzzed about films.
You could disagree, and claim that a few pop selections help people notice the small stuff. Hopefully.
Wild Grass was the zippy standard bearer for the spirit of “there’s nothing you can’t do.”
Film Festivals come and go. What’s important is what stays with you.
It’s a prankster film that seems to have been made on the fly by Korine and a handful of his friends.
Whatever his reasons, Khrzhanovsky directs his first (mostly) live-action feature, at age 69, as if it were his own last testament.
Lebanon is a good old-fashioned Sam Fuller war picture, all capital letters and tight close-ups.