Film
Chaos and anarchy are embedded in Angelo Madsen Minax’s hybrid cinema of survival, acceptance and transcendence.
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The nine-part film series focuses on the artist in his studio in Johannesburg. We see William Kentridge as he draws, paints, designs, paces the floor, and thinks out loud — among other things.
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As its plot unfolds, Amsterdam treats us to a strangely magical form of visual and verbal storytelling, both humorous and hard-edged, by turns sweet and shocking, with richly curated frames and bright spirited dialogue.
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Bros jokes about the hypocrisies of corporate diversity — often accurately, and with a cutting edge — while embodying some of the same problems.
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The action, as it were, is mostly the exhaustively filmed grappling of two beautiful people in no-star motels.
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There’s no real engagement with the ’80s, so this attempt at horror/comedy is politically and emotionally inert, profoundly unfunny and pathetically un-scary.
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At a time when the nation is taking stock of the failures of our history of urban policing and looking for some new approaches, the lessons of Hold Your Fire are needed more urgently than ever.
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In our politically correct times, the temptation would be to make a simplistic film in which Sandra, the good Black woman, is beset by bad white people.
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Move over Patrick Bateman, there’s a new axe-wielding psychopath for impressionable young cinephiles to project themselves onto in town.
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Reviews of three new documentaries at TIFF: My Imaginary Country, To Kill a Tiger, and Miucha: The Voice of Bossa Nova.
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