Chris says: “Given that 2008’s THE BEACHES OF AGNÈS was supposed to be Agnès Varda’s swan song, we’re just lucky at all to get one more film from the now 89-year-old Godmother of the French New Wave. And while this
Michael says: “There’s some major symbolism going on in the Lebanese film,MARTYR by Mazen Khaled, possibly about the state of Beirut, where the film takes place, but the gorgeous shots of water, and actor Hamza Mekdad’s nude body lean more
Chris says: “As an opera singer, Maria Callas had an undeniably great voice, but in her time she was also unmatched as to how she embodied her roles onstage (and offstage as well.) Tom Volf’s documentary is a lovingly assembled
Chris says: “A legal thriller from a director best known for his Ozu-worthy family dramas? It slots more neatly into his oeuvre than you’d expect, primarily because the mystery per se is steeped in familial relationships, only this time with
Thom says: “In nine short years Greek director Lanthimos has vaulted to my TOP 10 Living Directors. I’ve been unable to find his first two features MY BEST FRIEND and KINETTA, but his five films that followed have all received
Diane says: “Caught this Sundance winner doc at a small theater today. The central figure is a friend of director Dan Sickles’ (co-director is Antonio Santini; their first was MALA MALA). We land in the middle of the lives of
Chris says: “An admittedly frustrating but always fascinating puzzle box of a film. On the surface, it appears to be about teenager Madeline (Helena Howard), her antagonistic relationship with her single mother (Miranda July) and her after-school participation in an
Julie says: “This was a very well done doc. I recommend it. I think it painted a very clear, honest, intriguing and endearing portrait of Susanne Bartsch’s life and those around her as well as the important times in which
Chris says: “Not as sharp a political allegory as LEVIATHAN, nor does it possess that film’s necessary gallows humor (which might’ve been out of place here, anyway.) However, Andrey Zvyagintsev (whose greatest film remains his first, THE RETURN remains a
Chris says: “Naming a favorite film by Japanese director Hirokazu Kore-eda is like doing the same for his closest progenitor, Yasujiro Ozu–nearly impossible, given their tendencies to revisit and refine themes of domesticity and humanism while maintaining a higher-than-average consistency.