It will break your heart to watch Capharnaum, but you should give yourself to it and go on its journey. Under the hardships it portrays, there is a lifeline of hope and an overwhelming thirst for justice.
It will break your heart to watch Capharnaum, but you should give yourself to it and go on its journey. Under the hardships it portrays, there is a lifeline of hope and an overwhelming thirst for justice.
Happy As Lazzaro is a very high concept movie, but in order to go for high concept you need to have something strong to say, and I don’t think the whimsy here works for any cohesive message. Unless the message is “slavery is bad”, which isn’t exactly breaking narrative ground.
Antonio Banderas shines with an understated performance in Pain and Glory, a self-reflective study in nostalgia.
God’s Own Country is harsh, but it is also tender, and it’s all the more affecting because it finds hope and love not in a fairy tale but in a story that feels real and lived in. I am sorry I missed it when it came out, because I feel like I lost valuable time where I could have been thinking about it.
High Life tells a story of life in emptiness, of being alone in the void. It is deliberately paced, and mesmerizing in its own way.
Julianne Moore is phenomenal in a subtle and grounded role, a tender and lived-in story of a woman in search of more.
Natalie Portman delivers a great performance as a volatile pop star in Vox Lux.
Synonymes is an interesting look at Parisian life through the eyes of a charismatic protagonist, but it loses its way towards the end.
Other directors would have made this story flashier, more sensational, but Marielle Heller correctly chose a more level-headed and introspective approach.
Boy Erased succeeds in using one person’s story to shed light on a large reality, and takes the chance to explore notions of identity, family and acceptance.