Film
Luchino Visconti made theatrically tinged movies driven by music, indebted to painting, sculpture, architecture, and literature—he accomplished, dare I say, a fusion of the arts.
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Tony Zierra’s film is a worthy and interesting one, but I admit to becoming worn down by the endless litany of unglamorous ways that protagonist Leon Vitali worked his butt off for the genius filmmaker.
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Let the Sunshine In is French filmmaker Claire Denis’s one-note ode to the power of love even when, in this case, love stinks like dead fish.
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Writer-director Michael Pearce’s debut feature is self-assured and finely-wrought.
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There is real suspense and pathos in this political drama, beneath the standard cinematography and pacing.
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A wide-ranging slate of documentary features on display in this year’s Independent Film Festival Boston. Here’s a sampling of a few of the standout films coming up.
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What starts off as a rollicking entertainment ends with a flourish of profundity.
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This time around, as both a writer and director, Paul Schrader has a found a story, and the artistic restraint, to convey his elevated vision.
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Wild Wild Country details the insane clusterfuck that results when faith, fundamentalism, and media hype intersect.
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In You Were Never Really Here, Lynne Ramsay’s themes of alienation, violence, guilt and redemption are once again present, albeit in a more frenetic form than before.
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