What distinguishes the film from a slew of other indie dramas, though, is how this conflict unfolds not just in spoken dialogue, but in the creak of the floorboards, muffled conversation through thin walls, the hum of the radiator.
Eschewing traditional methods of exposition like dialogue and voiceover, Hvistendahl reveals character relationships and plot primarily through meticulous attention to audio and visual details.
Forgoing any touristic impulse, Patiño takes his cues from filmmakers such as Peter Hutton and especially Mark LaPore, charting not only the people and places before him but also his fundamental distance from those environments.
What a pleasure to watch a movie without a guilty conscience. What a relief to get to enjoy what everyone knows: movies create us, in our own fantasies and other peoples’, in our behaviors and expectations, in our public selves and erotic drives.
It is remarkable how many common prequel issues Miller and co-writer Nick Lathouris are content to sidestep entirely. Furiosa has almost no meta-shibboleth winks to fans or superfluous cameos.
For the third year, Museum of the Moving Image film curators have visited the Cannes Film Festival and have engaged in a dialogue about the films on offer.
If consumers are paying the big bucks for a game (especially one they have technically already played), what are they actually getting? Padding is, unfortunately, almost always the answer, but Rebirth takes it one step further by padding an arguably padded extension of a fragment of an existing game.
In placing us so fully within the complexities of the COVID-era present, Coma reveals our very inability to unify it in thought.
In Our Day sets two unconnected, rhyming narratives against each other for scrutiny—like looking at two paint samples from the same spectrum side by side and parsing the differences.
Creton builds his characters up from the outside; they lack a real sense of interiority. Where A Prince thrives is in its lush cinematography, inviting the audience into cozy, well-worn interiors and verdant, rich landscapes.
The film is another of brothers Bill and Turner Ross’s immersions in the regional euphoric...The filmmakers are after a kind of Herzogian ecstatic truth, often to be found in the kinds of spaces where someone is likely to be rolling on literal ecstasy.
In this new interview, the legendary cinematographer sits down to revisit his career by looking at unforgettable images from his films, specifically those by David Lynch and John Cassavetes, and recalling how he helped to create them.
The film is a digressive, musically driven bildungsroman told through a series of vignettes that glimpse slivers of contemporary West Indian British life. Ové shoots London as alternately drab and vibrant.
The whole movie sort of feels like a meditation on our memories of suburbia, our memories of TV shows about suburbia, and the way that lives on in a dream space. It’s more fun that way for me.
The strange metaphysical mingling of ersatz furniture and moments of raw human authenticity on game showsfeels like a rupture. These programs are traversable on-ramps for real people to appear as real people in the big leagues of television.