EMA is noteworthy as a study of a great, possessive and possessing performance; and as a dance movie whose dance sequences relate to the substance of the narrative. But as a study of a character, EMA joins Larraín’s gallery of films about subjects he seeks to control – and cannot.
IT’S ALWAYS FAIR WEATHER, the last of the Stanley Donen-Gene Kelly collaborations, has the temerity to admit something we all know to be true: namely, that life can be a bit shit.
The fantasy of your life is also deeply a part of the life you actually lead. This idea is understood, played with, and ultimately outdone by Lucio Castro’s debut feature, END OF THE CENTURY.
If ABOUT ENDLESSNESS is more of the same from Andersson, whose work is the strange offspring of Samuel Beckett and Jacques Tati, then it’s hard to see why that’s not altogether positive. Like Mae West said: “Too much of a good thing can be wonderful.”
While THE TRUTH is a departure for Hirokazu Kore-eda, the tone and temperament of the film share a great deal with gentler works in the director’s filmography.
For all the exclamations that this latest picture marks ‘Terrence Malick’s return to form,’ or, more grossly, that ‘Terry’s back!’ Marc Nelson counters with this: he never left.
Though LONG DAY’S JOURNEY INTO NIGHT may enervate and even exasperate, it’s still far preferable to watch a filmmaker throw ideas into work which ultimately fail to ignite than watch umpteen films with no ideas at all. Marc Nelson reviews.
BURNING CANE is directed by Phillip Youmans, a young filmmaker who demonstrates emotional fidelity to his subjects as well as an undeniable film sense coupled with a ready and substantial cinematic style. Marc Nelson reviews.
The wuxia pian, the Chinese martial arts film, seems just as vital today as it did in the days of King Hu. Zhang Yimou’s SHADOW shares a good deal in common with HERO, if not quite assuming a role as its equal. Marc Nelson reviews.
The surface pleasures of MARTIN EDEN are profound in themselves, but the pleasure they provide compounds when you realise that surface itself is a tissue of lies. The screenwriter Maurizio Braucci described the film, with a shocking eloquence, as “a dream of the twentieth century”, and it’s difficult to express how accurately the phrase represents … Continue reading Martin Eden