Monthly Archives:

April 2018

Before We Vanish by Paul Attard Film

Redoubtable | Michel Hazanavicius

Michel Hazanavicius has somehow made a relatively successful career out of feebly imitating established genre tropes or broadly recreating old forms of filmmaking, with The Artist being his crowning achievement: a lazy homage to the silent era laced with as many eye-rollingly obvious references as possible. With Redoubtable, Hazanavicius now…

April 20, 2018
by Luke Gorham Film Horizon Line

The Rider | Chloé Zhao

In transmuting the true-life story of rodeo star Brady Jandreau into the sort-of-fictionalized The Rider, director Chloé Zhao uses low-key character and narrative detail to massage a tidy, affecting docudrama from the material. The story of Jandreau (or as his character here is named,…

April 13, 2018
by Lawrence Garcia Film

The Nothing Factory | Pedro Pinho

Pedro Pinho’s The Nothing Factory is a Marxist, near three-hour Portuguese drama about labor in a capitalist society. That description might make the film (which took home the FIPRESCI prize following its premiere in Cannes’ Directors’ Fortnight) sound like a relentless slog. But for those on…

April 10, 2018
by Paul Attard Film

Djon Africa | João Miller Guerra & Filipa Reis

If directors João Miller Guerra and Filipa Reis have accomplished anything through their expansion of the world of their previous documentary’s subject — the Cape Verde-born, Portuguese-based Miguel Moreira — then it’s proving that fiction can be just as dull as reality. Moreira plays himself in the narrative film Djon Africa,…

April 10, 2018
by InRO Staff Festival Coverage Film

New Directors/New Films 2018 – Dispatch 2

The 47th edition of New Directors/New Films runs from Wednesday, March 28th, to Sunday, April 8th. For our final dispatch: a new feature from the co-director of Beyonce’s Lemonade film (Black Mother); the debut feature from “idiosyncratic” New York filmmaker Rick D’Ambrose (Notes on an Appearance); a film about “contemporary, post-colonial…

April 9, 2018
Before We Vanish by Luke Gorham Film

Lean on Pete | Andrew Haigh

Above all else, Andrew Haigh has proven himself a deeply empathic artist; whether tackling 21st century queer identity (Looking, Weekend) or the devolution of a decades-long relationship (45 Years), he revels in micro details as a means to inform macro cultural ideations. With Lean on Pete,…

April 6, 2018
Blockbuster Beat by Matt Lynch Film

A Quiet Place | John Krasinski

The opening of of A Quiet Place leaves you primed for an arthouse-inflected genre film, like something A24 would release, or that Alex Garland might direct. Shot with moody lighting and Malick-y closeups, a family silently raid an abandoned pharmacy, on what we’re informed is “Day 82” of something. All the…

April 6, 2018
Before We Vanish by Zach Lewis Film

Good Luck | Ben Russell

Ben Russell, previously known for travelogues and semi-ethnographic hallucinatory trips, plays his latest feature straight: Good Luck is a good deal longer than most of his previous films, but only because his smoke and mirrors are replaced with steady extended shots of people at work and at play.…

April 6, 2018
Before We Vanish by Lawrence Garcia Film

The Intestine | Lev Lewis

It’s often a fool’s errand to go searching for themes in a given festival program, but if there’s a common thread running through Future // Present, it’s the concept of home. The Intestine—Lev Lewis’s slippery, fascinating feature debut—centers on Maya (Melanie Scheiner), a young woman working a…

April 5, 2018
In Review | Online film and music criticism