Film
In Berlin, the closest thing to a consensus on “Kontinental ’25” was that the film didn’t measure up to Romanian director Radu Jude’s customary standards. My view is that the critics didn’t look hard enough.
A provocative commentary on our need to recognize our our common humanity, the film is, at its heart, a painfully cautionary tale.
Two essential documentaries look at the legacies of Leni Riefenstahl and Elie Wiesel.
“Eephus” could’ve become a piece of conservative-leaning nostalgia but, to its credit, it refrains from making small-town sports great again.
The stunning painting is beautifully presented in this documentary, but the flood of references to other works of art and quotations from classical and Renaissance writers might make the film a bit slow going for someone with no background at all in Renaissance cultural history.
Errol Morris takes another look at Helter Skelter and the Charles Manson murders.
Director/actress Paola Cortellesi’s “There’s Still Tomorrow” is yet another bold cinematic plea for women’s rights.
Bong Joon Ho’s “Mickey 17” is one of the most vicious, cruel, and savagely arch vivisections of our global economic and socio-political reality since… well… Bong’s 2013 movie “Snowpiercer”.
A review of two fine backstage (or offstage) comedies at the Berlinale — “Blue Moon” and “Koln 75”.
Arts Remembrance: Gene Hackman — Hero and Antihero
Gene Hackman’s legacy will never fade, and now, with his passing, many filmgoers may finally appreciate the enormity of his talent and the enduring impact of his work.
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