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In short, every film studio’s theatrical release calendar will be in a state of costly limbo for the foreseeable future, and the film industry will feel the ramifications of that limbo for at least months to come.
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Varda was called the mother of French New Wave since her work is highly regarded in this period of cinema that was largely male-dominated.
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A Sam Raimi stan and recent graduate who missed UC Berkeley’s film and media commencement ceremony to screen his short film, “Life in Color,” at the Cannes Film Festival.
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“The Beguiled” is a true testament to the woman behind the camera — a film with inspired visuals and masterful performances, and which imparts a needed feminist stamp on a story (the 1971 film starring Clint Eastwood, based on Thomas Cullinan’s novel of the same name) originally known for its pulp alone.
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Though thoughtful and innocent at times, the film juggles too much, attempting to critique both capitalism and its opponents but with little resolution on either side.
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While the debate between the streaming giants of today versus the studios, exhibitors, festival directors and cinephilic spectators will always exist, Netflix’s ability to offer such distinctive visions should be commended rather than chastised.
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Half a year before the release of his Natalie Portman-starrer “Jackie,” director Pablo Larraín unveiled another one of his productions at the historic Cannes Film Festival. This film lacks a more easily recognizable star power in a majority of its roles. It’s set in Larraín’s native Chile and, consequently, the
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Only Paul Verhoeven could create a film that opens on a black screen to the unforgiving sound of vehement sex and cuts sharply at the loud orgasmic conclusion of the encounter to the resolute stare of a fluffy, green-eyed cat. This starts off Verhoeven’s hallmark flash and bold cinematic structure,
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“White God” just made a daring accomplishment: The film captured hundreds of unleashed dogs running wildly in the empty streets of Budapest, Hungary, without any addition of CGI — even more of an accomplishment, most of the dogs used in the film are real-life rescues. Written and directed by Hungarian
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“Mommy” opens with a catastrophic car crash. As Diane — the recipient of the blow — gets out of the vehicle with blood running down the side of her face, she receives an urgent call concerning her son. After she gives a barrage of curses to the culprit, Diane’s face
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