Bong makes it clear from the film’s opening minutes that this is a movie about class. But what that means—and how that plays out through the Kims’ efforts to achieve a higher station—is never settled, perhaps, until the last shot.
In attempting to say something meaningful about race and politics in the city’s biggest borough, Norton has fallen into the same pattern as many real-life real-estate developers and city planners, getting rid of what made the source material so compelling in the first place, and adding his own personally convenient plotlines in the process.
In this nonlinear narrative, which abruptly, frequently jumps back eight years in time to glean moments from Sibyl’s former life and love, choppy scenes have the effect of disorienting, painful memories resurfaced, like picking up the disordered pieces of diary pages torn to bits.
Portrait does not feel burdened with historical detail or shackled to period fidelity; the film operates more like a luminous reimagining of what could have happened behind closed doors, when geographical loneliness lent the unexpected pleasure of freedom from automatic social patterning.
Marriage Story confronts the nature of divorce as a dehumanizing, lucrative institution: probing not just its emotional dynamics but also its social, structural, and economic ones.
The distracting, uniform beauty of the ensemble lends Assayas’s film an almost classical glamour that threatens to redirect our focus away from narrative events and the infrequent feint at political insight.
No heroic Siegfried figure, Humberto is a feckless opportunist. And so his voiceover, which persists throughout the runtime, inevitably recalls the mobsters of Martin Scorsese, whose The Wolf of Wall Street Veiroj has cited as a conscious model.
The haunting of Dakar in Atlantics extends beyond the film’s supernatural storyline, encompassing something more comprehensive and more unsettling in the strangeness of the 21st-century cityscape like that springing up in the suburbs, the tension between an imposed (and imposing) environment and human needs.
She structures her films around dramatic temporal and spatial jumps, but without the backbone of conventional pacing they seem especially jarring; it often takes a minute to realize that Schanelec has shifted gears to a different world.
It’s best to keep your wits about you while watching Lou Ye’s gorgeous and surprisingly playful latest film Saturday Fiction, set in Japanese-occupied Shanghai.
Rather than servicing the melodrama of the film, as in Black Coal’s mood-washed frames of neon red and icy blue, Diao’s flamboyant visual style here works sardonically—accentuating evil in a strange, unfamiliar way.
Dedicated as it is to meticulous and unhurried character study that eschews subjective or sentimental identification, In My Room checks off most of the descriptors usually applied to work produced by filmmakers attached to the Berlin School.
Throughout, in the manner of The Beaches of Agnès (2008), Varda looks back at her work, attempting to connect the dots both for herself, and for her audience. Knowing she can no longer be with us, the ever benevolent Varda has left us with the next best thing.
Baudelaire’s hybrid film metamorphoses into a textured testament to personal and spiritual growth, friendship’s creative symbiosis, and the cumulative effect of time and patience on a labor of love.
The basic premise trades in the kind of casual absurdism that’s by now expected of Porumboiu. More surprising is the fact that The Whistlers plays much like a standard policier—a relatively by-the-book offering from a director who has distinguished himself by a willingness to throw out the manual.