NYFF 2018: Burning
The characters in Burning, director Lee Chang-dong’s newest film, exist apart from one another. Even in scenes together they appear to inhabit separate layers of the frame; it’s like they’re superimposed upon one another to create the illusion of proximity while they remain irrevocably isolated.
NYFF 2018: Private Life
Private Life is a heartwarming, at times heartbreaking, work that succeeds in uniting stereotypes, tropes, and genres to remind viewers of the power in “dramedy.”
NYFF 2018: Roma
Nevertheless, there is enormous power in Cuarón’s decision to frame an epic-scale narrative about Mexico in transition around an indigenous woman; one who speaks in her native mixteca as well as Spanish, who enacts a coveted cinematic role as central voyeur, who brings the viewer into each of many worlds in collision.
NYFF 2018: The Times of Bill Cunningham
The beauty of this documentary lies in its ability to forefront Cunningham’s impression of himself without pandering to the audience, hungry for anecdotes to establish a sense of closeness to Cunningham—a reluctant celebrity whose work hinges on his ability to disappear into the sidewalk.
NYFF 2018: The Grand Bizarre
The textiles, each unique and colorful individually, combine to form a cohesive body of art that seems to transcend borders.
NYFF 2018: The Other Side of the Wind
In considering The Other Side of the Wind as Orson Welles’s final statement, one must come to terms with the fact that it is no longer really his film.
NYFF 2018: Sorry Angel
By the time the film draws to a close, Honoré’s made sure we’ve seen it all: plenty of mourning, sex, and smoking on picturesque Parisian bridges.
NYFF 2018: Wildlife
The directorial debut of actor Paul Dano organizes familiar faces, subjects and themes into a new, and moving, pattern.
NYFF 2018: Transit
In transit, relationships are evacuated of any real meaning, identity is rendered deliberately superficial and interchangeable, and what little the immigrants do own they carry with them.
Changing the Conversation: On First Reformed
First Reformed deploys a host of Protestant self-punishing trappings and conventions to fabricate a seductive spectacle out of white male guilt and self-pity.
Wild Boys
Four strutting teenage boys played by four strutting teenage girls compose the magnetic centerpiece of Bertrand Mandico’s heady debut feature, Wild Boys (Les garçons sauvages), which had its New York premiere on February 24th at The Film Society of Lincoln Center. Supremely bizarre, extraordinarily thoughtful, and operating according to a brilliant and idiosyncratic logic all...
NYFF 2017: Two Films from Hong Sang-soo
His two works feel like culminations in other ways too, messing with Hong’s usual structures while asserting themselves as two of the most deeply personal and mysterious entries in his filmography
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