Enemy—an adaptation of The Double, a 2002 novel by the late Portuguese Nobel winner José Saramago—centers around the time-honored doppelgänger conceit, and the film itself looks as if it was torn straight from the pages of a slim paperback, with each frame yellowed to the hue of a foxed volume.
At once sinuous and almost mournfully droll, Vic + Flo Saw a Bear itself feels a bit like an obstacle course, setting up a number of genre elements (ex-con romance, end-of-the-line resignation, cat-and-mouse games, etc.) only to bob and weave around them.
If the primary stuff of narrative is conflict, then The Duchess of Langeais—which tours through a series of nested rooms, carefully unpacking live-wire tensions and eerie doublings—reveals the past as a practically boundless narrative resource.
Writer-director Cristian Mungiu presents us with both sides of a dilemma, and then with mounting evidence that it will be irresolvable. He has, in effect, made an austere realist suspense film, not unlike his celebrated previous feature, 4 Months, 3 Weeks and 2 Days.
The first feature film written and directed by Sopranos creator David Chase, Not Fade Away is principally a period film: a small-scale dramedy set against the backdrop of the tumultuous sixties as they unfold in a tri-state town within spitting distance of—but a world away from—the Village’s bohemian mecca.
Watching Here and There, the Mexico-set debut feature by the Spanish-born Antonio Méndez Esparza, one might anticipate a big-event sucker punch, as frequently occurs in films showcasing festival-circuit realism with a strong sense of place and a societal-problem subject.
It turns out that Jarecki’s amalgam of Miller’s real-world counterparts is more of a bid to scramble audience sympathies (by now, Buffett and Madoff couldn’t have more divergent public profiles) than a rather crude entrée to financial-crisis commentary.