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by Michael Scoular

Credit: NYFF
by Michael Scoular Film

Ahed’s Knee | Nadav Lapid

If Nadav Lapid is a provocateur, who or what is he provoking? In one reading of his films, Lapid continually oscillates between thesis and antithesis, pausing only to prove in forceful litanies and aesthetic extremes the dead-end insularity of the Israeli state and its…

Credit: TIFF
by Michael Scoular Film

Huda’s Salon | Hany Abu-Assad

The crucial difference between a genre craftsman and a filmmaker merely checking in and out of a thriller mode might be seen in the emphasis Hany Abu-Assad places on the photographic blackmail that sets off Huda’s Salon. Clearly, these exploitative pictures, which incriminate, violate,…

Credit: TIFF
by Michael Scoular Film

Maria Chapdelaine | Sébastien Pilote

At the risk of painting with too broad a brush, Sébastien Pilote’s traditional treatment of Louis Hemon’s Maria Chapdelaine is a headline for all the typical faults of Quebecois cinema: gratuitous, dispassionate, reverent, and very well-made. Adapting a settler narrative from the turn of…

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