Olivier Assayas discusses the visual and aural aesthetic of Personal Shopper and how he shot that impressive texting set piece. This is an excerpt of the interview which appears in our case study on Personal Shopper in the ebook Beyond Empowertainment: Feminist Horror and The Struggle for Female Agency, which is available for purchase here.
Essays
Julia Ducournau’s Raw is a new kind of female body horror
Mary Angela Rowe’s review of Raw. Cannibalism is definitely a lady problem in Julia Ducournau’s Raw, but the film isn’t about the horror of female sexuality so much as the twisted results of shoving young women into a pressure cooker of experiences and expectations.
Hello Destroyer explores the thin line between hockey menace and model
Kevan Funk’s Hello Destroyer is a hockey movie where the drama is not in the game, but in how its violence has consequences that ripple off the ice.
Review: A Fantastic Woman was one of the best of the Berlinale
Sebastián Lelio’s A Fantastic Woman follows a grieving trangender woman who fights for her right to be respectfully treated as a person in mourning.
Top 5 film performances of 2016 that deserve a closer look
Actor-director-playwright Laura Anne Harris takes a look at five of the year’s best performances that deserve more attention: Rachel Weisz in The Lobster, Mahershala Ali and Andre Holland in Moonlight Margarite Breitkreiz in Marija and Rebecca Hall in Christine.
Berlinale Review: Just Like Our Parents is an early highlight
In Lais Bodanzky’s Just Like Our Parents, an overworked mother of two seeks her autonomy and happiness and finds that her wayward mother has the answers.