UNE FEMME DOUCE (1969) features one of Robert Bresson’s sharpest, bluntest images on the degradation of the spiritual. Marc Nelson reviews.
MS SLAVIC 7 is a witty hybrid film, better when it follows what its character does rather than what she says. Marc Nelson reviews.
While there are profound shortcomings to Julia Reichert and Steven Bognar’s AMERICAN FACTORY, what can’t be denied is the film’s felicitous ability to both depict bewilderment and itself bewilder. Marc Nelson reviews.
It’s good to note that when De Palma the sequence-constructor is allowed to emerge from cracked casing of DOMINO, he can still sing. Marc Nelson reviews.
Marc Nelson discusses THE SOUVENIR after its EIFF 2019 showings, where director Joanna Hogg casts her critical-yet-compassionate eye toward a stand-in for her younger self.
It’s troubling to think a documentary about film criticism wouldn’t understand or appreciate the most basic of facts. This film’s ahistorical fawning doesn’t honour the life and work it purports to, writes Marc Nelson from EIFF 2019.
Edinburgh’s Scene Taiwan Film Festival programmed THE PUPPETMASTER (1993) during its June run, and the film emerges as possibly the apotheosis of Hou Hsiao-hsien’s art. Marc Nelson reviews.
The problem of desire troubles each and every one of Claire Denis’s films. Marc Nelson considers this through three films in the legend’s filmography.
There is a is the bristling, animating tension existing at the centre of Zhangke Jia’s new film, ASH IS PUREST WHITE. Marc Nelson reviews.