It is a work that highlights the incongruities and contradictions of baseball. There has not been a fictional sports movie quite like Eephus, which deliberately unravels itself at the seams.
No Other Land is a film situated at ground level, depicting innocent people literally fighting to protect not only their homes but also their entire way of being. Three other films from last year took a bird’s eye view to similar subject matter.
When I initially designed the sound, I wanted there to be a full expression of it for deaf and hard of hearing audiences to actually feel the sound design. Deaf people can experience sound. But they don’t experience it the same way we do. So, I pushed those vibrational experiences.
This is not a movie that marvels at the throes of human despair, or at the preternatural resilience of one particular woman. It is instead a movie in which a mother chooses to carry on in fervid defiance, paving a way for her five children to do the same.
Revolutionary gestures in cinema have to be excavated from the rubble of film history, and an earnest engagement with this deeply flawed film unveils a reservoir of untapped revelations that can be harnessed in our contemporary queer imagination.
Matthew Rankin uses Universal Language to conduct a dialogue with Iranian cinema, utilizing hallmarks of its New Wave masters.
If A Silent Voice fixated on navigating guilt and Liz and the Blue Bird tapped into the anxieties of love, The Colors Within is all about balancing the expectations others have of us with the limitless possibilities that exist before we are pigeonholed in certain roles.
Years in Review
Reverse Shot's annual awards and accolades, including Greatest Collaboration, Biggest Leap of Faith, Best Supporting Actress and Actor, Most Tasteless Song(s), Saddest Streamer, Best Sound Effect, Biggest Ball Drop, Most Ghoulish Grin, and much more!
Soderbergh achieves an effectively fraught air from the jump so that his scenes, even at their stillest, vibrate with the breath-seizing possibility of menace; we are continually and acutely aware that the domestic fracases and solitary activities depicted are being witnessed by eyes without a face.
Years in Review
Nickel Boys, Janet Planet, Hard Truths, Dahomey, Do Not Expect Too Much from the End of the World, Juror #2, Evil Does Not Exist, The Beast, All We Imagine as Light, I Saw the TV Glow
Its willingness to paint sixties establishment folkies as potentially just as extractive as their more legibly villainous record mogul counterparts would have meant something if the film had any interest in actually investigating the prickly relationship between art and commerce.
The rise of affordable filmmaking tools, the internet, smartphones, and social media platforms have led to many words written in the 21st century about the broadening power to create and distribute cinema. In parallel, there has been a related but less-discussed rise in the essay film.
Between the writtenness of the text and the flat planes of the modernist upstate house Martha has chosen as the location to end her life, the film’s melodrama tips into abstraction.
Whatever delights the film offers are of the generic variety, teasing at thriller and melodrama conventions while constantly pulling back to the realm of the purely psychological, a tense negotiation of the raw and the sleek as unresolved and tentative as its central adulterous couple’s stabs at kink.