Nomadland (2020)

A few years ago, I was speaking to a friend of mine about my indifference towards Alfonso Cuaron’s Roma.  “It’s a technically well-made film,” he noted.  “But what did it really have to say?” Continue reading “Nomadland (2020)”

A few years ago, I was speaking to a friend of mine about my indifference towards Alfonso Cuaron’s Roma.  “It’s a technically well-made film,” he noted.  “But what did it really have to say?” Continue reading “Nomadland (2020)”

A few years ago, I was speaking to a friend of mine about my indifference towards Alfonso Cuaron’s Roma.  “It’s a technically well-made film,” he noted.  “But what did it really have to say?” Continue reading “Nomadland (2020)”

The Assassin (2015)

This Hou Hsiao-hsien arthouse wuxia drama, set during the Tang dynasty of 9th century China, centers on an exiled princess-turned-assassin (Shu Qi) assigned to kill her cousin Tian Ji’an (Chang Chen), a military governor in the province of Weibo. Continue reading “The Assassin (2015)”

NYFF: Hopper/Welles (2020) & The Tango of the Widower and its Distorting Mirror (2020)

This year’s New York Film Festival greets us with newly released films by two of the most renown filmmakers of the 20th century, Orson Welles and Raúl Ruiz. Recently these two late directors have been surprisingly prolific, with Welles’ The Other Side of the Wind, having spent decades in post-production hell over disputes of its ownership, receiving a belated release by Netflix in 2018; meanwhile, Ruiz, who passed away in 2011, had his final film Night Across the Street posthumously distributed in 2012 while his widow Valeria Sarmiento supervised a reconstruction of his lost picture The Wandering Shadow (2017).

Continue reading “NYFF: Hopper/Welles (2020) & The Tango of the Widower and its Distorting Mirror (2020)”

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