Film
The three films I selected to start my 2023 Sundance journey were very different from one another, but they shared one common theme: girlhood.
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These films provide a glimpse into the workings of a culture and society increasingly cut off from the rest of the world as well as a taste of a cinema that had once been among the world’s greatest and which may one day be again.
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Alice, Darling is a potent reminder to women that they should trust their instincts — and rely on their friends.
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Reviews of the cogent and well-crafted The Big Payback, the comprehensive if conventional Zora Neale Hurston: Claiming a Space, and No Straight Lines: The Rise of Queer Comics, which expertly balances whimsy and gravity, though the version of the film shown by PBS has been heavily censored.
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Sarah Polley’s essay on sexual assault by itself is worth the price of the book, essential reading for anyone interested in the physical and psychological after-effects of violence against women.
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M3GAN is a movie algorithmically generated to spawn as many memes about itself as possible before undiscerning viewers realize what they’re watching is a reworked Black Mirror draft.
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Director Alice Diop wisely avoids offering a neat solution to Saint Omer‘s exploration of a mother who murders her child.
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For viewers weary of horror that embraces the minimalist and dystopian, The Pale Blue Eye — chock-full of emotion, mystery, and romance from a bygone era — is a welcome sight indeed.
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Watching the action unfold may well make audience members extremely uncomfortable, even leave some traumatized. That may well be the point.
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Film Commentary: The Gratuitous Comic Cruelty of “The Banshees of Inishiren”
The island scenery is stunning and the acting is fine, but at is core Martin McDonagh’s The Banshees of Inishiren is bitter and mean-spirited
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