Reviews
A film like Martin Rejtman’s Two Shots Fired—if there is another film like Two Shots Fired—encourages critics to talk about the radical power of narrative digression. This assumes, of course, that a film has a centralized narrative to begin with . . .
The first half of the film moves in simple chronological order, but as Saint Laurent begins to break down emotionally, so too does the film’s careful construction, entering the subject’s point of view and moving fluidly through past, present, and future.
If the Maysles’ now legendary 1970 documentary Gimme Shelter were released today, how would it be received? Would 21st century audiences and critics, grown accustomed to nonfiction filmmaking obsessed with dotting i’s and crossing t’s, soak up the film’s hazy ambiguities?
It is of tantamount importance that Ava is a woman, that all previous iterations created by Nathan were women, and that they are, as conscious, female humanoids, under the subjugation of their creator, who doesn’t see this as problematic because he views them as less than.
With the overall invigorating Clouds of Sils Maria, Assayas takes another curious glance across the ocean, and his film, more humane than demonlover (if not as purely emotional as Clean), continues the trend of making films about women that are equally about play-acting and performance.
Simon Grim, for those who’ve forgotten and the many more who never knew, is the garbageman-turned-Nobel-Prize-winning poet created by Hartley for Henry Fool, and played by James Urbaniak in that film, Fay Grim, and now Ned Rifle, the conclusion of the trilogy.
While We’re Young traffics in a specific image of privileged urban whiteness, the kind in which materialism is seen as its opposite and liberalism is merely the fiction of all-inclusiveness.
The subject matter here may sound grim, but beneath this is a sentimentality that will be familiar to viewers of such films as Benji the Hunted and Homeward Bound: The Incredible Journey, Disney productions that specialize in assigning recognizable, sympathetic human motivations to animal protagonists.
Wenders is more directly present here than he is in Buena Vista or Pina, but even if we see him in the frame early on, directing his cameraman, it’s clear that Salt is Sebastião’s show—the film never descends into the kind of essayistic indulgence of his earlier documentaries.
Nicloux’s film is quite the best cinematic supplement to Michel Houellebecq’s work that exists.
As Manny Farber helpfully pointed out, “a film cannot exist outside of its spatial form.” But La Sapienza takes space as its literal subject, how the environments we build for ourselves, either architecturally or emotionally, create room for the known and the unknown.
As in their previous features, the Zellner brothers mine absurd situations for humor while encouraging empathy for the individual at the film’s center through a steady diet of closely observed details.
The film proceeds as a series of vignettes, mostly interiors, almost entirely shot with a stationary camera, a self-imposed rule which Hausner will here and there violate for a slight pan or a slow zoom, her austerity coming up just shy of that found in the period pieces of Rossellini or Straub-Huillet.
With Jauja Alonso follows the ever-widening orbit his films have been tracing even further, nudging his trademark concerns away from the largely observational, vaguely romantic cinema of his earlier work into something considerably more expansive, playful, even supernatural.