[Cannes Review] Slack Bay
More than a few eyebrows were raised two years ago when it was announced that the next outing by Bruno Dumont, dour auteur extraordinaire, would be a comedy. Bu...
Giovanni Marchini Camia
[Cannes Review] Sieranevada
For this critic’s money, of the several excellent filmmakers to emerge from the Romanian New Wave, Cristi Puiu ranks as the most formidable. After kicking off h...
[Cannes Review] Staying Vertical
Those only familiar with Alain Guiraudie’s sublime Stranger By the Lake, which finally brought the gifted French director to a (relatively) wider audience follo...
[Cannes Review] Café Society
Café Society is a quintessential later-period Woody Allen film. That is to say, it’s thoroughly mediocre. It’s by now a sad truism that the octogenarian auteur ...
[Berlin Review] A Lullaby to the Sorrowful Mystery
Starting with the Spanish conquest of the Philippines in the mid-16th century, the country was under the colonial rule of four different foreign powers for near...
[Berlin Review] The Commune
Thomas Vinterberg has yet to re-attain the heights of his 1998 breakthrough feature, the vehement Dogme inaugurator The Celebration. His focus on the scabrous u...
[Berlin Review] Zero Days
The impressively prolific documentarian Alex Gibney – who, since 2010, has released an average of three films per year – tackles a wide variety of salient and c...
[Berlin Review] Creepy
One has to appreciate Kiyoshi Kurosawa’s winking self-awareness in calling his new feature Creepy. It’s as if the Coen brothers released a film entitled Snarky,...
[Berlin Review] Death in Sarajevo
It’s not long into Death in Sarajevo, Bosnian writer-director Danis Tanović’s seventh feature, before it becomes clear we’re navigating allegorical territory. O...
[Berlin Review] Boris Without Beatrice
Following in the footsteps of literature, cinema has cultivated a long and rich – and some would say tired – tradition of targeting the bourgeoisie and its mani...
