With Ana, Mon Amour, director Calin Peter Netzer is desperately trying to align himself with the great figures of doomed romantic cinema, from Rivette and Cassavettes to Bergman and Pialat. That’s certainly a bold aspiration, although given that rarified air it is perhaps unsurprising that…
Our fifth dispatch from the 2019 Toronto International Film Festival (here’s our first, our second, our third, our fourth) tackles some of the fall’s bigger ticket items: Rian Johnson’s buzzed-about whodunit, Knives Out; Noah Baumbach’s latest portrait of domestic and individual discord, Marriage Story;…
Anne at 13,000 Ft. only occasionally utilizes medium shots, and nothing wide, so committed is it to staying close to its titular subject, to actualizing the suffocating feel of her existence. Anne’s (Deragh Campbell) presence vacillates between lax and unhinged, with a kind of…
Set amidst the spy games of Allied and Axis intelligence agencies in Shanghai’s neutral French Concession, Saturday Fiction tracks famed actress and Allied agent Jean Yu (Gong Li) as she — having returned to the city with the cover of assuming the lead role…
Paula Hernandez‘s The Sleepwalkers begins with the sounds of a ticking clock and running water over a black screen. The noises increase in intensity until they sound like a roaring ocean, waves lapping up against the shore. Luisa (Erica Rivas) awakes and finds her…
Cecil Frena, formerly known as Born Gold, has never really stuck to one genre, but has always been known for his tender, poignant lyrics and experimental, pop-leaning sounds. It was only since abandoning that previous moniker in favor of using his god-given name that…
