Tag: Foreign Film Review
Il Buco | Review
Frammartino Digs Deep, But Barely Scratches the Surface
Michelangelo Frammartino’s Il Buco (“The Hole”) is a meditative journey into the center of the earth,...
Reflection | Review
In the Fog Mirror: Vasyanovych Punishes with Numbing Exercise on War & Trauma
Following up on his international breakout, Atlantis (2019), Ukrainian director Valentyn Vasyanovych...
Human Factors | Review
The Discomfort of Strangers: Trocker Collapses Paranoia and Perspectives in Brooding Familial Drama
Communication, when you really think about it, is all but impossible. Words...
Lux Æterna | Review
Devil’s Familiars: Noé Stirs a Witches’ Brew in Latest Provocation
For those familiar with cult auteur Gaspar Noé, one either has a taste for his...
Anaïs in Love | Review
She’s Pure as New York Snow: Bourgeois-Tacquet Charms in Effortless, Effective Comedy
With her unexpectedly charming debut, Anaïs in Love, director Charline Bourgeois-Tacquet presents the...
Vortex | Review
All That We See or Seem: Noe Delivers Devastation Through the Definitiveness of Death
There’s no pleasure to be had, whatsoever, in the experiencing...
I Love America | Review
I Never Sang for My Mother: Azuelos Mines Own Experiences for Dynamic Melodrama
Presenting a narrative partially autobiographical in nature with her latest film, I...
Black Box | Review
Guilt By Aviation: Gozlan Delivers Intrigue with Paranoia Tinged Tech Thriller
Director Yann Gozlan returns to the realm of social pariahs in his fourth...
Hatching | Review
The Egg & I: Bergholm Births Straightforward Tween Body Horror
Finland’s Hanna Bergholm makes a splash with her interesting, if ultimately one-note debut, Hatching,...
Firebird | Review
Bird on a Wire: Rebane Resurrects a Familiar Stymied Love Affair in Absurd Melodrama
Over a century ago, Lord Alfred Douglas coined the euphonious phrase...
The Duke | Review
The Goya Next Door: Michell’s Swan Song a Slender Thread of Anti-authoritarianism
We’re primed to believe in the importance of a film whenever we’re greeted...
The Tale of King Crab | Review
Shellfish People: Rigo de Righi & Matteo Zoppis Craft Unique Narrative Steeped in Oral Tradition
For their directorial debut The Tale of King Crab, directors...
Paris, 13th District (Les Olympiades) | Review
Same Old Song & Angst: Audiard Misfires with Millennial Love Tugs
Jacques Audiard turns to youth culture amour fou with his latest feature, Paris, 13th...
Aline | Review
The Face of Another: Lemercier Normalizes Weird Choices in Bizarre Biopic
Like something novel born out of a 30 Rock satire (remember the unauthorized Janis...
You Won’t Be Alone | Review
Practical Magic: Stolevski Impresses with Eloquent Folk Horror Trauma
Nature and Nurture are the affixed ingredients in a codependent dance swirling under the surface of...
The Girl and the Spider | Review
A Roommate of One’s Own: The Zurcher Bros. Cast a Spell in Weirdo Existential Melodrama
The two central characters of Ramon and Silvan Zurcher’s enchantingly...
Donbass | Review
Come and See: Loznitsa Crafts Overwhelming Nightmare of Modern War-torn Ukraine
Dropping us directly into the wartime propaganda machine of modern-day eastern Ukraine, which has...
Bull | Review
All the Rage: Williams Returns with a (Familiar) Vengeance
After a decade working in television, British director Paul Andrew Williams finally returns to narrative filmmaking...
The Rose Maker (La fine fleur) | Review
In the Name of the Rose: Frot Elevates Formulaic Melodrama from Pinaud
“What is life without beauty?,” inquires antiquated rosarian Eve Vernet in Pierre Pinaud’s...
Sonne | 2022 Berlin International Film Festival Review
The Sun Also Scheisse: Ayub Explores Identity Politics in Modern European Diaspora
For her directorial debut, Sonne, director Kurdwin Ayub draws on her background as...
Zero Fucks Given (Rien à foutre) | Review
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...
Nitram | Review
A Pleasure to Burn: Kurzel Explores the Making of a Murderer in Disturbing Portrait
On April 28, 1996, lone gunman Martin Bryant shot and killed...
Infinite Storm | Review
White Woman in a Blizzard: Szumowska Pitts Watts Against the Elements in True Life Trauma Drama
Polish director Małgorzata Szumowska unleashes her tenth narrative feature...
Mothering Sunday | Review
Woman in Love: Husson Mounts Reticent Portrait of Living Life Out Loud
At first glance, Mothering Sunday has all the impeccable furnishings evident in the...
Ahed’s Knee | Review
Kneedful Things: Lapid Highlights Complex Conflicts in Indignant Screech
The entirety of Ahed’s Knee, the fourth film from Israel’s Nadav Lapid, is formatted to aggravate...
Bloody Oranges | Review
Strange Fruit: Meurisse Gets Gonzo with Slice of Cinema Bizarre
Director Jean-Christophe Meurisse follows up his 2016 comedy Apnee with something a bit more uncomfortable...
Great Freedom | Review
Laws of Attraction: Rogowski Shines Bright in Recuperative Queer Prison Drama
Although there’s nary an upside down pink triangle in sight, Austria’s Sebastian Meise cultivates...
Interview: Lenny & Harpo Guit – Mother Shmuckers
Lenny Guit and Harpo Guit are the masterminds behind Mother Shmuckers (Fils de Plouc), one of the most unhinged comedies to grace Sundance’s Midnight...
Mother Schmuckers | Review
O Brother, Why Art Thou?: The Guit Bros. Get Down & Out in Bizarre Debut
Something is rotten in the state of Belgium, or so...
My Best Part (Garçon chiffon) | Review
Green Eyes, They’re Crying: Maury Mines Sorrow in Tragicomic Debut
Actor Nicolas Maury crafts his own starring vehicle in My Best Part (Garçon chiffon) as...
Servants | Review
A Separate Peace: Ostrochovský Crafts a Church Noir for Sophomore Feature
For his sophomore narrative feature, Slovak director Ivan Ostrochovský recuperates a uniquely chilling scenario...
Happiness (Baqyt) | 2022 Berlin International Film Festival Review
Let the Sunshine In: Uzabayev Drags Us Through the Wretched Realities of Violence Against Women
The knee-jerk response to the agonizing experience of watching a...
À propos de Joan (About Joan) | 2022 Berlin International Film Festival Review
Ladies They Talk About: Larivière Utilizes Huppert in Shaky Melodrama on Loss & Love
For his sophomore film À propos de Joan (About Joan), Laurent...
A Piece of Sky (Drii Winter) | 2022 Berlin International Film Festival Review
Poor Cow: Koch Devises Solemn Melodrama of a Tortured Romance
Delivering a steady handed narrative as full of sincerity as it is austerity, Swiss director...
AEIOU – A Quick Alphabet of Love | 2022 Berlin International Film Festival Review
The Consonants of Love: Krebitz Gets Caught in an Odd Romance
“It all begins with A,” so begins the omniscient third-person narration of Anna, an...
La ligne | Review
Fists Out of Pocket: Meier Mines Superficial Dysfunction with Uneven Comic Melodrama
Although she’s been working on a variety of documentary and short projects, not...
Incredible But True | 2022 Berlin International Film Festival Review
Beauty Secrets: Dupieux Latest a Strangely Tragic Fable on Human Foibles
The films of Quentin Dupieux, a prolific Belgian director who has spent most of...
Minamata | Review
Man with a Movie Camera: Levitas Aims for Noble Rendering of Horrific Toxic Waste Contamination
You’ve heard it before---corporate greed and government corruption colluding to...
Playground | Review
Suffer the Children: Wandel Explores Bullying Through a Child’s Perspective in Superb Debut
If everything one needs to know is learned in kindergarten, part of...
Ballad of a White Cow | Review
Kismet Kisses: Moghaddam & Sanaeeha Mine Intimate Vengeance in Rich Melodrama
The opening moments of Ballad of a White Cow evokes a quote from Al-Baqarah...
Fabian – Going to the Dogs | Review
The Dog Days Aren’t Over: Graf Puts a New Coat of Paint on the Weimar Republic
The Weimar Republic, aka the German Republic, which lasted...
Air Doll | Review
There is No Substitute: Kore-eda Digs into Our Rubber Soul with Fantasy Flick
Reinterpreting the notion of what it is to truly be living and...breathing,...
The Last Ride of the Wolves | 2022 Intl. Film Festival Rotterdam Review
Fasten your Seatbelt: De Michele Embarks on a Bumpy First Ride
A thematic continuation of Alberto de Micheleʼs last short film, The Wolves (2011), for...
The Worst Person In The World | Review
Sometimes She Loved Them Too: Trier Formulates Winning Composite of Love and Self Discovery
For his fifth film, The Worst Person in the World, Norway’s...
Sundown | Review
Slaughter House Rules: Franco Continues with Cinema of Distress
The English playwright Robert Bolt wrote “Death comes for us all. Even for kings he comes.”...
Rifkin’s Festival | Review
Spain & Glory: Allen Apes His Darlings in Familiar Comedy of Marital Discord
The first entry of Woody Allen’s European banishment in the twilight years...
The Pink Cloud | Review
Endemic Pandemic: Gerbase Unveils Prophetic Debut of Life During Lockdown
The uncanny prescience of Iuli Gerbase’s directorial debut The Pink Cloud is as stunning as...
What Do We See When We Look at the Sky? | Review
Eye See You: Koberidze Spins a Modern Fairy Tale of Distracted Perceptions
Georgian director Alexandre Koberidze ascends to a sublime arthouse stature with his curious...
Parallel Mothers (Madres paralelas) | Review
The Lives of Mothers: Almodovar’s Melodrama Mines the Personal and Political
Coincidences abound in Parallel Mothers, the latest soap dish from Spain’s perennial auteur, Pedro...
Swan Song [Video Review]
Producer: Mahershala Ali, Rebecca Bourke, Jonathan King, Jacob Perlin, Adam Shulman, Mimi Valdés.
Executive Producers: Shea Kammer.
Director: Benjamin Cleary.
Screenplay: Benjamin Cleary.
Camera: Masanobu Takayanagi.
Editor: Nathan Nugent.
Music:...
