Grounded in the Maxi Trial of 1986, the largest anti-mafia trial in history, Bellocchio strays from some historical details, creating an at first enrapturing but ultimately superficial and overextended look into Tommaso Buscetta’s experiences.
What do you do when death is knocking at the door? Director Ira Sachs answers this cliché question through the eyes of Frankie (Isabelle Huppert), a 60-something famous actress with a terminal cancer diagnosis.
Sciamma treads the fine line between subversion and historical accuracy marvelously and with a keen eye for detail, and has produced her best work yet that will surely be among this year’s prize winners.
It’s entertaining and clever, and Porumboiu attempts originality by centering his story on a centuries-year-old secret whistling language inspired by the birds in La Gomera, an island in the Canaries — but beyond that, there’s not a lot of novelty to be found in this twenty-first century film noir.
In “Nan Fang Che Zhan De Ju Hui” (“Wild Goose Lake”), director Diao Yinan explores the landscape of impoverished semi-rural China through a thrilling criminal manhunt. In spite of its undeveloped characters, the result is a spectacularly shot and edited film that shows great promise for the emerging director.
“Little Joe” doesn’t have a climax, nor does it spiral into action — instead, it beautifully sustains its psychological horror and unfolds at the same, unassuming pace at which Little Joe takes over the laboratory.
The two-hour film, a fantastical musical production, includes some of Elton’s greatest hits, and every scene shimmers with a sense of showbiz glitz. But beyond mapping out well-known biographical facts of Elton’s life, the film does little to tell more of his story.
While the film could be mistakenly simplified as just another critique of police brutality, Ly constructs a vastly more complex landscape that brings nuance to deeply rooted racial and social tensions.
Director Kantemir Balagov conveys a beautifully painful story of two women and how disjointed their lives become after the various traumas of World War II. He doesn’t simplify their struggles — instead, his dramatic portrayal of the everyday lives of his characters reflects the physical and mental wounds they have suffered from the war.
The town of Bacurau that Filho and Dornelles construct isn’t so much a utopia as it is a proposed philosophy, one that challenges the endless developments of modernization and knows how much moderate change it really needs.
Knowing that we’d be exhausted from the journey over and the activities of the previous day, Kaylee and I set our first screening for 11 a.m. We started the morning with Jim Jarmusch’s “The Dead Don’t Die,” which, despite its comedic elements, was still pretty gruesome.