Epistemology of the Closet: Dunn’s Impressive Debut a Pronounced Portrait of Agitated Angst
Notable short filmmaker Stephen Dunn (Pop-up Porno, 2015) makes an impressive feature...
Samaritan Subterfuge: Masri’s Aggrandized Portrait of Political Metaphor
Portraits of women-in-prison have a long winding history in the annals of grindhouse and various exploitation cinema,...
Like many of Stanley Kramer’s once incredibly topical titles, the iconic Guess Who’s Coming to Dinner? seems incredibly dated by today’s standards, even if...
An Other Mother: Muylaert Scores International Breakout with Class Conscious Character Study
Brazilian director Anna Muylaert gets her first crack at international renown with her...
Premiering at the 2014 Venice Film Festival with little fanfare, and received a limited theatrical release in March, 2015 in the US, Benoit Jacquot’s...
The thrill of meeting Marjane Satrapi reminded me of being 6 years old at Disney Land when I met the living, breathing Cinderella. Except Cinderella was an actress with a blond wig and Marjane is the real woman behind her autobiographical graphic novel, turned movie, “Persepolis”. The distinctive mole on her nose and her dark sultry eyes rose off the page and appeared in front of me, smoking and speaking with a French accent.