REVIEW: Un beau soleil intérieur [Let the Sunshine In] [2017]

Being a backstreet lover is just unbearable. Is love all consuming? Or disposable? If you discover it’s one above the other, how do you know you’re right? The answer is simple: love is whatever you need it to be for yourself. Don’t compromise your happiness or comfort. Don’t allow your beau to walk over your feelings to pretend what you have now is enough despite your needing more. Leave yourself open to change and—as the title to Claire Denis‘ latest film states—Un beau soleil intérieur [Let the Sunshine In]. Because…

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REVIEW: La Ciénaga [2001]

Get me some ice. The debut feature from Argentinian writer/director Lucrecia Martel is entitled La Ciénaga or The Swamp in English. That’s a name no American circa 2018 can read without conjuring allusions to the Donald Trump campaign motto “Drain the Swamp”. And it’s not a superficial thought either once you start to meet the characters she puts onscreen. We’re talking a not-SO-well-to-do middle class family dripping with a classist sense of entitlement and a racist superiority complex. The adults bask in the sun of the Salta summer, stumbling around…

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REVIEW: Laskovoe bezrazlichie mira [The Gentle Indifference of the World][2018]

Only love is real. Sometimes it isn’t enough to simply portray the type of eternal love that Shakespeare wrote in Romeo and Juliet. Watching two star-crossed lovers attempt to fight the injustices of this world to be together only to sacrifice themselves can still ring hollow because it’s hinged upon the naiveté of children not looking for another solution regardless of whether the result would be the same. To take the poison is to admit defeat against the external forces proving too strong to combat. Love therefore becomes our sole…

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REVIEW: Le Redoutable [Godard Mon Amour] [2017]

I was lucky enough to admire my lover. We’re introduced to Emile (Marc Fraize) halfway through Michel Hazanavicius‘ Le Redoubtable [Godard Mon Amour]. He’s a local Frenchman with a car and the means to procure enough gas to drive an argumentative Jean-Luc Godard (Louis Garrel), his wife Anne Wiazemsky (Stacy Martin), and their friends (Micha Lescot‘s Bamban, Bérénice Bejo‘s Michèle, and Grégory Gadebois‘ Michel Cournet) home from Cannes. His inclusion moves the film forward from place to place while also providing a stand-in for we the viewers caught watching Godard’s…

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REVIEW: 火垂るの墓 [Hotaru no haka] [Grave of the Fireflies] [1988]

Please stay home with me. Everything I read and heard about Isao Takahata‘s Hotaru no haka [Grave of the Fireflies] appeared to want to prepare me for a solemnly tragic tale that couldn’t be completed without tears streaming down my face. I took this train of thought as a badge of honor—preparing its emotionality and authenticity towards WWII’s futility and collateral damage. This is the reaction most war films hope to conjure with many going out of their way to manipulate the reception via story, score, or imagery. Reducing this…

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REVIEW: Oh Lucy! [2018]

Meow. Meow. Smooch. I saw Atsuko Hirayanagi‘s short film Oh Lucy! back in 2014 and thought it to be a bona fide charmer. It told the story of a lonely woman named Setsuko who does her niece a favor by recouping the cost of English classes the cash-strapped girl had decided quit. The American teacher was an eccentric who used wigs and fake names to allow ‘Lucy’ to disappear into a new, more candid version of her buttoned-up self. It’s a whirlwind of emotions when the teacher goes back home—enough…

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REVIEW: Lou Andreas-Salomé, The Audacity to be Free [2016]

Become who you are. There’s a great line spoken by an aged Lou Andreas-Salomé (Nicole Heesters) to new friend and potential biographer Ernst Pfeiffer (Matthias Lier) upon his praise-fueled declaration that the way she lived her life—her freedom—was a touchstone for modern feminism. Her reply is, “Nonsense. What’s changed for us women since then?” It’s not presented as a jaded reaction or one specifically attached to the era in which she spoke it (the 1930s), though, because you could say the same today and not be wrong. Yes, women do…

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REVIEW: Incubo sulla città contaminata [Nightmare City] [1980]

That sounds like science fiction. There’s a scene between Dean Miller (Hugo Stiglitz) and his wife Anna (Laura Trotter) about two-thirds of the way through Umberto Lenzi‘s Incubo sulla città contaminate [Nightmare City] where they speak about the perils of technology. After an hour of murder, death, and exposed breasts, suddenly the screenwriters decide to provide some semblance of meaning to the whole. Anna laments that the world would be a better place without creature comforts like instant coffee and more expansive means of infrastructure such as nuclear power. She…

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REVIEW: 大鱼海棠 [Dayu haitang] [Big Fish & Begonia] [2016]

Without happiness, what’s the meaning of longevity? In 2004, directors Xuan Liang and Chun Zhang created a Flash animation for an online contest. From there they would expand it into a feature length film steeped in Chinese supernatural legend. And despite some funding snags over its twelve-year production schedule, 大鱼海棠 [Dayu haitang] [Big Fish & Begonia] would ultimately turn its approximately five million-dollar budget (in today’s US dollars) into just shy of one hundred million at the Chinese box office. It’s no surprise then that it would make its way…

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REVIEW: Aala Kaf Ifrit [Beauty and the Dogs] [2017]

What law forbids a human being from seeing a doctor? Fear should never be underestimated as a means for oppression or motivation because there are few emotions more potent. This is why totalitarian regimes use it as a weapon to silence those who dare find the courage to stand up for their rights. They sow fear into the masses, using it to gather support for new laws pretending to protect citizens that actually just insulate those in the position to make them. And if a rebellion somehow proves successful, adjustment…

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NYICFF REVIEW: Sing Song [2017]

I’m looking for my eyes in your eyes. For Dutch teenager Jasmine (Georgiefa Boomdijk), her homeland of Suriname (a northeastern South American country) is a footnote. She knows little about it or the mother she and her father Winston (Maurits Delchot) left behind sixteen years previously. He refuses to talk about anything pre-Netherlands so her sole connection is a photo of the woman she hasn’t yet resigned herself to believing she’ll never meet. So when a contest held across the Atlantic from where she lays her head asks for online…

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