Only Mothers Left Alive: Maurel Funnels Dysfunctional Family Matters
You can't go home again and it’s a disaster to even try, especially as evidenced in...
Belle de Jour: Mourning Becomes Sex Work in Poukine’s Debut
There’s arguably a slippery slope at work in Alexe Poukine’s narrative debut Kika, a far...
Murmur of the Heart: Serraille Conquers Indifference Through Sincerity
With her third feature, Ari, director Léonor Serraille confirms a clear pattern of interest in exploring...
Say My Name Say My Name: Rapin Conquers Hearts, Minds and VR HeadSets in Wonky Digital Dystopia Piece
After exploring themes of rebirth and reincarnation...
Ground Control: Exarchopoulos Takes Flight in Portrait of Repressed Anguish
For their directorial debut Zero Fucks Given, Julie Lecoustre and Emmanuel Marre opt for a...
Once Upon a Time in Belgium: Paronnaud Goes into the Woods for Violent Retro-Fairytale
The notion of the wolf in sheep’s clothing busts into blurred...
French director Vincent Paronnaud is best known as an animator, having co-directed two films with Marjane Satrapi. The two parted ways following 2011’s Chicken...
Mon Legionnaire
Director Rachel Lang snags Louis Garrel (who had a significant 2019, appearing in Polanski’s An Officer and a Spy and Gerwig’s Little Women,...
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.