Nomadland‘s delicate attention to storytelling tradition unfortunately gives way to conventionality in the film’s back half, displacing its early promise. Having just taken the top prize at this year’s Venice Film Festival, Nomadland begins its journey towards Oscar gold. That’s admittedly a flip assessment…
by InRO Staff Festival Coverage Film
London Film Festival 2020 — Dispatch 1: Films We’ve Already Covered
Another week, another festival. For this year’s BFI London Film Festival, it’s business as usual, which is to say the unusual business of 2020 film festivals. Like others before it, London will be employing a similar hybrid format, mixing socially-distanced physical screenings with a…
The fall festival season has looked far different this year, limited both in its ability to exhibit films and in the breadth of selection available. As a result, heading into the 58th New York Film Festival, InRO has already published pieces on roughly one-third…
by InRO Staff Festival Coverage Film
TIFF 2020 — Dispatch 1: Nomadland, One Night in Miami, American Utopia
Nomadland Having just taken the top prize at this year’s Venice Film Festival, Nomadland begins its journey towards Oscar gold. That’s admittedly a flip assessment of a film that takes to the fringes of American life: Adapted from Jessica Bruder’s non-fiction work of the…
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,…
Our fourth dispatch from this year’s New York Film Festival (here’s one, two, and three) includes the Chinese-American filmmaker Chloé Zhao’s docudrama The Rider, about South Dakotan rodeo culture; Kiyoshi Kurosawa’s Invasion of the Body Snatchers/Starman hybrid Before We Vanish; and Ben Russell’s Good Luck, a relatively normal (for him),…
