Nicolás Pereda’s Minotauro sees its North American debut in the Wavelengths section at this year’s Toronto International Film Festival. This nigh impenetrable avant-garde picture is a narcoleptic journey into the interior lives of three young adults (played by Pereda regulars Gabino Rodríguez, Luisa Pardo and Francisco Barreiro) as they sleep, dream, read, and interact with occasional […]
Film Festivals
Review: Sicario is a good but not great thriller
There’s a lot of skill and talent on display in Denis Villeneuve’s Sicario, which makes it a thoroughly enjoyable if entirely forgettable heart-pounding studio thriller. Emily Blunt stars as Kate, an FBI agent working in a kidnap recovery team who finds herself recruited for a special unit to track down and kill drug lords using unconventional […]
Love 3D is mediocre event cinema
When Love 3D premiered at the Cannes Film Festival in May, it was a major event. Everyone was there, from Benicio del Toro to Joachim Trier. I was in line behind Sony Pictures Classics co-president Michael Barker discussing whether or not The Assassin is boring. It’s an event film though not a very good one, and its […]
TIFF15 Review: Philippe Garrel’s In the Shadow of Women
In a radical departure (just kidding) from his usual subject matter, writer-director Philippe Garrel’s In the Shadow of Women tackles marital infidelity. Pierre (Stanislaus Merhar) and Manon (Clothilde, Princess of Venice and Piedmont) are a reasonably happy married couple who produce documentary films together when Pierre’s eye starts to wander to the young archivist Elizabeth […]
Cannes Director’s Fortnight reviews
Arabian Nights, L’Ombre des Femmes, and Trois Souvenirs de Ma Jeunesse The Director’s Fortnight and its relationship to the Cannes Film Festival can be a perplexing one. It’s generally considered to be part of the festival — often a stepping stone to admission into the Official Selection — although it’s technically a separate, simultaneous film […]
Mon Roi: an abusive relationship won’t end
The title of Maïwenn’s messy but compelling Mon Roi, is indicative of the film’s primary problem. When divorcee and criminal lawyer Tony (Emmanuel Bercot) asks her new beau, Georgio (Vincent Cassell), if he’s a jerk, he flirtatiously replies that he’s “The King of Jerks,” and as the film’s title indicates with affection, he becomes her king (of jerks).