The film is an unending source for the worst possible clichés and most overdone series of graphic matches in the history of film editing.
The film’s bravest choice is to expose its characters’ anxieties without offering any comprehensive solutions.
For me, Ebert always seemed to be there when I needed him.
Though Ginger & Rosa is arguably Sally Potter’s best work to date, it’s certainly the filmmaker’s most accessible.
There’s no empathy in Haneke’s carefully composed frames, ruthlessly prolonged takes, and generally detached stance.
Sally Potter packs so much detail and thematic heft into 90-minute films that, given her elliptical and often unemphatic presentation, feel tantalizing but never overstuffed.
The 1992 release of Orlando propelled director Sally Potter to forefront of independent filmmakers.
Rarely have source material, director, and leading actress been more in alignment than in Orlando.
David Foster Wallace’s masterful prose doesn’t translate to cinematic language, and I doubt it would work in any context other than the page.
Writer-director Sally Potter seems curiously entertained by the most pedestrian performances.
An intellectual, a feminist, and a socialist, writer-director Sally Potter places her films within the realm of the conceptual.