Exclusive articles:
Review: Trabalhar Cansa (Hard Labor)
"Too modest to appeal to genre buffs, Hard Labor works best as an unassuming festival item, whipping out its guns only after it's dragged the audience into arthouse ennui."
Venice’s Orizzonti Has a Jury, Wants to ‘Cut’ to the Chase
Similar to the Directors' Fortnight in Cannes, or the Visions and Vanguard programmes at TIFF, Venice has their own special sidebar for the more experimental folk on the cinema stage, called Orizzonti (Horizons). Last year saw some pretty heavy titles in this section, including Catherine Breillat's dream fable Sleeping Beauty, José Luis Guerín's local colour doc Guest, Hong Sang-soo's quadrant-structured Oki's Movie, and Patrick Keiller's continuation of his heady essay films with Robinson in Ruins.
Trabalhar Cansa (Hard Labor) | Review
Debut feature is a Chore, except when it's Enthrallingly Creepy
Toronto’s Lightbox Gets Obsessive Over the Spectacular Cinema of Fellini
While watching these films offers its own experiential whirligig of psychoanalytic readings and cultural anthropology, the exhibition - which consists largely of photographs, movie clips, and advertising memorabilia - gives them the sort of depth that one could only really have had by actually living through the pop culture melee that spawned them.
Review: Hors Satan
"Alarmingly programmed in the Un Certain Regard section, Hors Satan represents a relapse of sorts to his earlier style; comparably accomplished, yet even more tediously austere. Anyone expecting an active, engaged viewing experience - as employed in Hadewijch - will curse every one of its 110 minutes."
