One takeaway I hope people get from the movie is that through all of this rot and through everything, there are things that are worth paying attention to, and they're happening all around you. And I think it's really just a matter of shifting your focus, of looking for smaller things.
Anyone privileged enough not to work in the public-facing service economy was compelled to generate new at-home routines during the early days of COVID. More so than its (scant few) pandemic-set contemporaries, Suspended Time acutely understands how previously occupied mental space in adults became vacant for the first time.
Much of the low-budget queer cinema of the 20th century has a documentary flavor; everything feels authentic and real even when fictionalized. In many of these films, a liberated, explicit representation of active queer spaces is still informed by the reality of the closet.
The making of the play provides the dramatic scaffolding for the unfolding of life, but both the skit and the college life that surrounds it are presented as spontaneous, oblique, and devastating in their elisions.
The notion that gay lifestyles are fundamentally lonely and perilous is, of course, absurd and antiquated, but this acutely provocative filmmaker meets such stereotypes head-on, exposing their roots, testing their limits, and probing their lasting impact on queer narratives past and present.
Her first English-language feature, the film relinquishes some of Athina Rachel Tsangari’s steadily calamitous humor and Greek locales, while preserving her institutional critiques of capitalism and chauvinism.
It was a physically demanding film, for the crew and the cast, because of weather and the terrain and time limitations. It is not exactly improvisational, but once we start—and because we keep shooting the scenes over and over again without stopping—it evolves. And then in the editing, another being comes alive.
Diciannove, the first film by Giovanni Tortorici, who is not yet out his twenties, speaks to the psychic undercurrents of our fresh Hell, while also carrying on a dialogue with the traditions of European romanticism in literature and film.
Like Pulse, the film’s conceit imagines a nightmare scenario in which an aspect of technologically modulated human interaction—here, online harassment—breaches the borders of reality.
Cohen suggests that modern cinema, unshackled from genre, is more powerful than we may give it credit for. His work is porous, holding room for all these possibilities and more.
Don’t Let’s Go to the Dogs Tonight is a passion project of the best kind, and not just because it features a part actors would give their right arm to play.
The verisimilitude of a photograph can foster destabilizing encounters with figures from the past, and the film conveys this spectral dimension of photography through explicit references to ghosts, visitations, and the presence of the dead.
The current myth and meme-ification of Tom Cruise leaves out many of the specifics of the actor’s versatile and daring career.
In case you did not see the other two films, 28 Years Later provides a quick refresher. Serving as audience surrogates, a living-room gathering of increasingly anxious children watch Teletubbies while all hell breaks loose outside. Only one of them makes it out alive.