Nadav Lapid discusses politically charged filmmaking
Features

Nadav Lapid discusses politically charged filmmaking

Israeli director Nadav Lapid has a well-documented history of producing incendiary, provocative films that actively engage with the emotionally charged discourse that surrounds decisions made by the Israeli government. Ahed’s Knee is the latest festival hit for Nadav Lapid, a film which details the experiences…

Film Reviews

REVIEW: Drive My Car (2021)

Drive My Car (2021) is a bewitching study of resentment, guilt and frustration that quickly establishes a peculiar rhythm. It takes inspiration from an acclaimed Haruki Murakami short story and retains a literary quality in scenes that feature characters reciting anecdotes from their past. Writer-director…

Noémie Merlant and Makita Samba in Les Olympiades, Paris 13e (2021)
Film Reviews

REVIEW: Paris, 13th District (2022)

Jacques Audiard’s sexy, atmospheric new film Paris, 13th District, has been met with a tepid response from the cinephiles who revere the director for experimenting with the conventions of genre cinema. For those who adored Read My Lips (2001) and The Beat That My Heart…

The Unknown Man of Shandigor (1967) is utterly insane
Film Reviews

The Unknown Man of Shandigor (1967) – Review

The Unknown Man of Shandigor is a kooky homage to the mid-1960s espionage thrillers turned out by French New Wave filmmakers, and it is wholly committed to being utterly insane. The plot is completely incoherent, the characters are thinly drawn, and Jean-Louis Roy happily jumps…

Petite Solange (2022) is bland and flavourless, despite good intentions
Film Reviews

Petite Solange (2022)- Review

It’s almost impossible to actively dislike a film like Petite Solange. It’s a well-meaning project that extends sympathy to children who have their lives negatively impacted by divorce, and it was clearly crafted with a considerable amount of care. All of those factors cause you…

Anais in Love (2022) review
Film Reviews, Reviews

Anaïs in Love (2022) – Review

Charline Bourgeois-Tacquet’s Anaïs in Love arrives at a time when people are desperate to see positive depictions of female sensuality and lust on-screen. In the age of #metoo, many filmmakers feel overly cautious about presenting female characters as objects of desire, and Hollywood seems content…

Film Reviews

REVIEW: Guermantes (2021)

Jean-Luc Godard once described the Richard Burton-Elizabeth Taylor vehicle The Sandpiper (1965) as “A couple of bakers filming each other on Sundays.” The same description could be applied to Christophe Honoré’s Guermantes (2021), which documents the experiences that the members of the Comédie-Française theatre troupe…

Film Reviews

REVIEW: Madeleine Collins (2021)

In 1999, while promoting Humanity, Bruno Dumont wrote that “Jean-Pierre Melville used to say that the cop genre was a good vehicle. A police investigation is a sound movement…a dialectic: the quest for truth in a concrete and common expression, where it is innocently at…

Interviews

INTERVIEW: ‘Fabian: Going to the Dogs’ Director Dominik Graf

Director Dominik Graf has never been afraid to take on challenging projects that make waves in his native Germany. With his last feature film, 2014’s Beloved Sisters, he thoroughly examined gender roles in eighteenth-century Germany and considered the influence that legendary poet Friedrich Schiller had…

A still from The Last Thing Mary Saw - A young woman is wearing a black blindfold and there appears to be blood coming from her eye underneath it
Film Reviews

REVIEW: The Last Thing Mary Saw (2022)

Like so many other horror films, The Last Thing Mary Saw isn’t really about gruesome murders or villainous young women with magical powers. It features plenty of violence and a healthy smattering of blood and guts but it’s ambitious enough to offer up more than…

Film Reviews

REVIEW: The Heiresses (1980)

The Heiresses (1980) is best understood as Márta Mészáros’s take on a Henry James novel. She shifts the action from late nineteenth-century Italy to mid-1930s Hungary and removes the callow, American heroine that typically stood at the centre of one of James’s stories, but she…

Film Reviews

REVIEW: Diary For My Children (1984)

Pioneering director Márta Mészáros’s worldview was profoundly shaped by the tragic events that occurred during her early childhood. She was born to politically liberal artists in Budapest, Hungary in 1931 and spent periods of her childhood in Stalinist Russia. Her mother died while giving birth…

Film Reviews

REVIEW: Miracle In Milan (1951)

In analysing a Vittorio De Sica film, particularly Miracle In Milan, one has to take his political views into account. He was a pioneer of the Italian neo-realist movement, which ostensibly sought to deal with social issues in realistic terms. De Sica was noted for…

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