Film
In terms of genre, I would describe Wildflower as a sort of Hallmark Channel-style drama, a quirky but heartwarming tale of a scrappy girl who overcomes the odds to help her family stay together.
Director Alice Diop’s films explore, with great sensitivity and little sentimentality, the generational effects of colonialism and racism.
There’s no place like home at two local film festivals.
In Turkey, liberal filmmakers must find ways to address system wide abuses without offending the censors: the opening and closing films at this week’s Turkish Film Festival make good use of that strategy.
Potentially Dangerous is a documentary about an era during World War II when Italians living in the United States were persecuted and, in some cases interned, as “enemy aliens” because the US was at war with Italy.
Boston Strangler centers on women journalists who are devalued and must hold their own, demanding safety and justice in a society that doesn’t always deem them worthy of protection.
Pro wrestling fans will undoubtedly love how Monster Factory takes them behind the scenes, but even those who have never watched the sport will find the docuseries intriguing.
A lot seems to be going on beneath the surface, but the surface itself is so beguiling, with the scenery, sea, and sunsets rapturously shot on digital cameras by cinematographer Artur Tort, and with the alternately lulling and agitating soundtrack, that the urgency tends to lapse.
Inside‘s visceral demonstration of the alienating capacity of technology and the reduction of art to rich people’s toys may be a bit pat, but the film finds the space within these cliches to stage a compelling human drama.
Featuring a transcendent performance by Bill Nighy, Living inspires viewers to look inward, and then outward, gently begging us to muster whatever power we have to seize the day.
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