Andrew, Eric, and Wen, held hostage in their lakeside cabin rental, are told by the invaders that they must make a decision to sacrifice one of their family members to save everyone else in the world, inverting the usual extremist take. Time is running out, tensions are running high, and all we can do is watch.
Full Time is largely about the labor that continues in the shadows of a labor strike, and the non-union workers living outside Paris whose lives are overturned when the city shuts down. Julie is not a Norma Rae-esque heroine interested in organizing for the greater good; she is just trying to keep herself and her family afloat.
The ghost of Bogart hovers over two films from the 1970s that are screening in the Snubbed series, selections that exemplify the Academy’s indifference to unlikable antiheroes adrift in diffuse underworlds.
The strange cross-section of eras and technologies becomes its own kind of visual rhetoric of alienation; the crushed blacks and embellished film grain abstract even the most rudimentary shots of hallways and open doorframes into the shapes a child might imagine as those of monsters.
I cannot imagine seeing something more compositionally thought-through and artfully constructed in the current cinema, or something that more compellingly refuses to divulge its secrets while also maintaining a constant engagement with so many legible ideas.
His latest thoughtful docu-fiction hybrid, No Bears, is deceptively gentle, initially even comedic, lulling with a ruminative pastoral quality that is gradually pierced by painful reminders that these are more than stories—they are the contours of people’s lives.
The camera is frequently in motion, shifting elements like characters, animals, vehicles, and terrain in an intricate dance. Despite the impossibility of the otherworldly imagery, every shot feels like it comes from an actual camera perspective, which lends the film its verisimilitude.