In the film, the literal union of bodies is the only logical means of conveying the reestablishment of emotional bonds.
Pablo Larraín’s film bluntly hammers home the notion that history is framed by perception rather than reality.
The films at this year’s festival offered plenty examples of legacies lived up to and not—neglected and obsessed over.
Pablo Larraín has captured Pablo Neruda in all of his pomposity, pretense, courage, and undeniable genius.
Pablo Larraín’s Jackie is concerned with elucidating levels of performance in public and private spheres.
It shifts toward constructing a didactic tongue-lashing against the Catholic Church disguised as speculative fiction.
The Club isn’t content to present a simple litany of crimes connecting the church with the Pinochet dictatorship.
The setup suggests a topical takedown of both corruption in the priesthood and the ruthless ways Catholic churches have tried to cover up their immoral behavior.
One of the most unexpectedly resonant and heartfelt films of the year, Pablo Larraín’s No receives an excellent A/V transfer from Sony, along with a strong commentary track from the director and his star, Gael García Bernal.
A brilliantly macabre examination of evil seamlessly infecting those passionless souls indifferent to the threat of violent political transition.