Through its sweeping scope, Possible Love trades the granular analysis of the particulars for a lucid picture of history as a repetitive structure that governs life under capitalism.
Dreams, projections, flashbacks abound in The Unknown, but none of these are heralded or signposted, piling on an even greater level of mental disorientation, which Harari offers as a portal to greater organic understanding, both socially and cinematically.
A Day in the Life of Jo is a difficult movie to describe, both because of the way it unfolds and its manner of storytelling, which, three quarters of the way through, takes one of the boldest left turns in recent cinema.
Paper Tiger is Gray’s deftest and most moving film yet about how the assumptions Americans are fed about our ability to transcend class and economic standing are more quicksand than bedrock.
Wilson may occasionally play the fool, awkward and stammering, but he’s always more cunning than he lets on. In each encounter, Wilson engages his subjects with true curiosity, not making them the butt of a joke, but attempting to reveal what makes them worth documenting.
Amidst the nonstop chaos, the film finds something close to real pathos in using the communication gulf between the humans and aliens to excoriate xenophobia and ignorance.
Have you ever experienced a pleasurable, tingling sensation at the thought that somewhere out there, perhaps locked in a vault, stashed in a shoebox, or hidden in plain sight on the dusty shelves of an unassuming bookseller, lies a secret, suppressed, or once lost text that could change the course of humanity, unlock portals to other worlds, or reveal secret histories?
My cumulative understanding of her filmography continues to expand and shift, and I am so grateful for that. I think I'm still learning about Barbara Hammer to some degree. What I initially was so interested in was her turning the camera on herself.
Where are the Bond games with spy craft, covert investigation, or flirtation with beautiful women with ridiculous names? Such elements finally come to the fore in 007 First Light, IO Interactive’s long-gestating reintroduction of Bond to gaming.
Now, nearly 50 years after documenting their epic trip down the Colorado River, Robb Moss revisits the friends on the precipice of old age in The Bend in the River.
The nihilistic carnage is just as likely to elicit laughter as screams. Even established characters are shredded with brutal flippancy, including a major one whose stunning, gory demise prompted the loudest shrieks and cackles at my screening.
The key to the cinema of Kiyoshi Kurosawa is his multifaceted approach to various forms, each storytelling configuration providing its own archetypes and stylistic markers that can be freely mixed even as he maintains control over tone and aesthetic style.
On seeing experimental cinema in the proper and intended context and format: Carlos Casas's Krakatoa, Stan Douglas's Birth of a Nation, and Johann Lurf's Forever…Forever.
Alboury will not come inside, and he will not go home, either; the more the two men try to feel each other out, the less likely it becomes that one or the other is going to budge. This is a compelling setup, sociologically and emotionally loaded.
For Late Fame I was attracted to the idea of doing something that originated not with one other person but with two other people; Arthur Schnitzler and Samy Burch. And not necessarily in that order because I preferred Samy’s script. I first knew about her because of May December.