Category Archives: Foreign Films

2022 Gotham Awards Nominations feature some of year’s best surprises.

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2022 Gotham Awards Nominations Full List 

 

Best Feature Nominations go to Aftersun, The Cathedral, Dos Estaciones, Everything Everywhere All At Once, and Tár.

New York, NY (October 25, 2022) – The Gotham Film & Media Institute announced today the nominations for the 32nd Annual Gotham Awards, singling out 23 feature films, 15 series, and 35 performances in twelve award categories. The nominations were announced live from Cipriani Wall Street by Emmy-nominated star of Pose and American Horror Story on FX and now as Roxie Hart in Chicago on Broadway, Angelica Ross. Ross was joined by Jeffrey Sharp, award-winning film producer and the Executive Director of The Gotham.

“We are thrilled to announce this year’s Gotham Award nominees and look forward to celebrating together live and in person in a few weeks. Over 500 films and TV shows were submitted for consideration this year. These filmmakers demonstrated tremendous courage and invention in the production of their work during these months, and we’d like to congratulate them all.” said Sharp.

As the first major awards ceremony of the fall season, the Gotham Awards provide critical early recognition and media attention to worthy independent films and series and their writers, directors, producers, and actors. The awards are also unique for their ability to assist in catapulting award recipients prominently into national awards season attention. The 2022 Gotham Awards Ceremony will be held live and in person at 7 pm on Monday, November 28, 2022 at Cipriani Wall Street in New York City.

Nominees are selected by committees of film and television critics, journalists, festival programmers, and film curators. Separate juries of writers, directors, actors, producers, editors, and others directly involved in making films will determine the final Gotham Award recipients. 

The 2022 Gotham Award nominations are:

Best Feature 

Aftersun

Charlotte Wells, director; Adele Romanski, Amy Jackson, Barry Jenkins, Mark Ceryak, producers (A24)

The Cathedral

Ricky D’Ambrose, director; Graham Swon, producer (MUBI)

Dos Estaciones

Juan Pablo González, director; Ilana Coleman, Jamie Gonçalves, Bruna Haddad, Makena Buchanan, producers (Cinema Guild)

Everything Everywhere All At Once

Daniel Kwan, Daniel Scheinert, directors; Joe Russo, Anthony Russo, Mike Larocca, Daniel Kwan, Daniel Scheinert, Jonathan Wang, producers (A24)

Tár

Todd Field, director; Alexandra Milchan, Scott Lambert, Todd Field, producers (Focus Features)

Best Documentary Feature

What We Leave Behind

Iliana Sosa, director; Emma D. Miller, Isidore Bethel, producers (ARRAY) 

All That Breathes

Shaunak Sen, director; Aman Mann, Shaunak Sen, Teddy Leifer producers (A Sideshow & Submarine Deluxe Release in Association with HBO Documentary Films) 

All the Beauty and the Bloodshed

Laura Poitras, director; Howard Gertler, John Lyons, Nan Goldin, Yoni Golijov, Laura Poitras, producers (NEON)

I Didn’t See You There

Reid Davenport, director; Keith Wilson, producer (RePort Media) 

The Territory

Alex Pritz, director; Alex Pritz, Darren Aronofsky, Sigrid Dyekjær, Will N. Miller, Gabriel Uchida, Lizzie Gillett, producers (National Geographic Documentary Films)

 

Best International Feature

Corsage

Marie Kreutzer, director; Alexander Glehr, Johanna Scherz, Bernard Michaux, Jonas Dornbach, Janine Jackowski, Maren Ade, Jean-Christophe Reymond, producers (IFC Films)

Athena

Romain Gavras, director; Romain Gavras, Charles-Marie Anthonioz, Mourad Belkeddar, Jean Duhamel, Nicolas Lhermitte, Ladj Ly, producers (Netflix)

The Banshees of Inisherin

Martin McDonagh, director; Graham Broadbent, Pete Czernin, Martin McDonagh, producers (Searchlight Pictures)

Decision to Leave

Park Chan-wook, director and producer (MUBI)

Happening

Audrey Diwan, director; Edouard Weil, Alice Girard producers (IFC Films)

Saint Omer

Alice Diop, director; Toufik Ayadi, Christophe Barral, producers (Super LTD)

Bingham Ray Breakthrough Director Award

Charlotte Wells for Aftersun (A24)

Owen Kline for Funny Pages (A24)

Elegance Bratton for The Inspection (A24) 

Antoneta Alamat Kusijanovic for Murina (Kino Lorber)

Beth de Araújo for Soft & Quiet (Momentum Pictures / eOne)

Jane Schoenbrun for We’re All Going to the World’s Fair (Utopia)

Best Screenplay

Armageddon Time, James Gray (Focus Features)

After Yang, Kogonada (A24)

Catherine Called Birdy, Lena Dunham (Amazon Studios)

Tár, Todd Field (Focus Features)

Women Talking, Sarah Polley, based upon the book by Miriam Toews (United Artists Releasing / Orion Pictures)

Outstanding Lead Performance

Cate Blanchett in Tár (Focus Features)

Danielle Deadwyler in Till (United Artists Releasing / Orion Pictures)

Dale Dickey in A Love Song (Bleecker Street)

Colin Farrell in After Yang (A24)

Brendan Fraser in The Whale (A24)

Paul Mescal in Aftersun (A24)

Thandiwe Newton in God’s Country (IFC Films)

Aubrey Plaza in Emily the Criminal (Roadside Attractions and Vertical Entertainment)

Taylor Russell in Bones and All (United Artists Releasing / Metro Goldwyn Mayer Pictures)

Michelle Yeoh in Everything Everywhere All At Once (A24)

Outstanding Supporting Performance

Jessie Buckley in Women Talking (United Artists Releasing / Orion Pictures)

Raúl Castillo in The Inspection (A24)

Hong Chau in The Whale (A24)

Brian Tyree Henry in Causeway (Apple TV+)

Nina Hoss in Tár (Focus Features)

Noémie Merlant in Tár (Focus Features)

Ke Huy Quan in Everything Everywhere All At Once (A24)

Mark Rylance in Bones and All (United Artists Releasing / Metro Goldwyn Mayer Pictures)

Gabrielle Union in The Inspection (A24)

Ben Whishaw in Women Talking (United Artists Releasing / Orion Pictures)

Breakthrough Performer

Anna Cobb in We’re All Going to the World’s Fair (Utopia)

Frankie Corio in Aftersun (A24)

Anna Diop in Nanny (Amazon Studios and Blumhouse)

Gracija Filipovic in Murina (Kino Lorber)

Kali Reis in Catch the Fair One (IFC Films)

Breakthrough Series – Short Format (under 40 minutes)

Abbott Elementary, Quinta Brunson, creator; Quinta Brunson, Justin Halpern, Patrick Schumaker, Randall Einhorn, executive producers (ABC)

As We See It, Jason Katims, creator; Jason Katims, Jeni Mulein, Dana Idisis, Yuval Shafferman, Udi Segal, Amit Gitelzon, Shlomit Arvis, Danna Stern, executive producers (Prime Video)

Mo, Mohammed Amer, Ramy Youssef, creators; Mohammed Amer, Ramy Youssef, Ravi Nandan, Hallie Sekoff, Solvan “Slick” Naim, Harris Danow, Luvh Rakhe, executive producers (Netflix)

Rap Sh!t, Issa Rae, creator; Issa Rae, Syreeta Singleton, Montrel McKay, Deniese Davis, Dave Becky, Jonathan Berry, executive producers (HBO/HBO Max)

Somebody Somewhere, Hannah Bos, Paul Thureen, creators; Bridget Everett, Carolyn Strauss, Mark Duplass, Jay Duplass, Mel Eslyn, Hannah Bos, Paul Thureen, Patricia Breen, Tyler Romary, executive producers (HBO Max)

Breakthrough Series – Long Format (over 40 minutes)

Pachinko, Soo Hugh, creator; Soo Hugh, Michael Ellenberg, Lindsey Springer, Theresa Kang-Lowe, Richard Middleton, Kogonada, Justin Cho, executive producers (Apple TV+)

Severance, Dan Erickson, creator; Ben Stiller, Nicholas Weinstock, Jackie Cohn, Mark Friedman, Dan Erickson, Andrew Colville, Chris Black, John Cameron, executive producers (Apple TV+)

Station Eleven, Patrick Somerville, creator; Patrick Somerville, Jessica Rhoades, Scott Steindorff, Dylan Russell, Scott Delman, Jeremy Podeswa, Hiro Murai, Nate Matteson, executive producers (HBO/HBO Max)

This is Going to Hurt, Adam Kay, creator; Naomi De Pear, James Farrell, Jane Featherstone, Adam Kay, Ben Whishaw, executive producers (AMC+ in association with BBC)

Yellowjackets, Ashley Lyle, Bart Nickerson, creators; Jonathan Lisco, Ashley Lyle, Bart Nickerson, Drew Comins, Karyn Kusama, executive producers (SHOWTIME)

Outstanding Performance in a New Series

Bilal Baig in Sort Of (HBO Max/HBO)

Ayo Edebiri in The Bear (FX)

Janelle James in Abbott Elementary (ABC)

Minha Kim in Pachinko (Apple TV+)

Matilda Lawler in Station Eleven (HBO/HBO Max)

Britt Lower in Severance (Apple TV+)

Melanie Lynskey in Yellowjackets (SHOWTIME)

Zahn McClarnon in Dark Winds (AMC & AMC+)

Sue Ann Pien in As We See It (Prime Video)

Ben Whishaw in This is Going to Hurt (AMC+ in association with BBC)

Breakthrough Nonfiction Series

The Andy Warhol Diaries, Alexis Martin Woodall, Scott Robertson, Andrew Rossi, Stanley Buchthal, Josh Braun, Ryan Murphy, executive producers; Maya E. Rudolph, producer; Andrew Rossi, director (Netflix)

The Last Movie Stars, Martin Scorsese, Amy Entelis, Courtney Sexton, executive producers; Adam Gibbs, Ryan Hawke, Emily Wachtel, Lisa Long Adler, producers; Ethan Hawke, director (HBO Max)

Mind over Murder, Nanfu Wang, creator and director; Marc Smerling, Nanfu Wang, Max Heckman, Chad Mumm, Mark W. Olsen, Nancy Abraham, Lisa Heller, Sara Rodriguez, executive producers (HBO/HBO Max)

The Rehearsal, Nathan Fielder, creator and director; Nathan Fielder, Dave Paige, Dan McManus, Christie Smith, executive producers (HBO Max)

We Need To Talk About Cosby, W. Kamau Bell, creator and director; W. Kamau Bell, Andrew Fried, Katie A. King, Vinnie Malhotra, Dane Lillegard, Sarina Roma, Jordan Wynn, executive producers (SHOWTIME)

Thirty-four critics, curators, programmers, and writers participated in the nomination process. 

Nominating Committees for the 2022 Gotham Awards were:

Nominating Committee for Best Feature and Best Screenplay:

Justin Chang, Film Critic, Los Angeles Times, NPR’s “Fresh Air”

K. Austin Collins, Film Critic, Rolling Stone

David Ehrlich, Chief Film Critic, IndieWire

Jessica Kiang, Freelance Film Critic, Variety, Sight & Sound, Los Angeles Times, The Playlist

Alison Willmore, Film Critic, New York Magazine/Vulture

Nominating Committee for Best Documentary Feature:

Ben Fowlie, Executive and Artistic Director, Points North Institute; Founder, Camden International Film Festival

Tom Hall, Co-Head/Artistic Director at Montclair Film & The Clairidge Cinemas

Eric Hynes, Writer/Reporter/Critic; Curator of Film, Museum of the Moving Image

Ruth Somalo, Senior Programmer at DOC NYC & ADFF, independent curator and filmmaker

Ania Trzebiatowska, Film Curator, Sundance Film Festival

Nominating Committee for Best International Feature:

Bilge Ebiri, Film Critic and Writer, New York Magazine/Vulture

David Fear, Senior Editor & Critic, Rolling Stone

Wendy Ide, Film Critic, The Observer, Screen International

Guy Lodge, Film Critic, Variety, The Guardian and co-editor, Film of the Week

David Rooney, Chief Film Critic, The Hollywood Reporter

Nominating Committee for Breakthrough Director

Carlos Aguilar, Film Critic, Los Angeles Times, The Wrap

A.A. Dowd, Culture Editor, Chron

Kate Erbland, Executive Editor, Film, IndieWire

Lovia Gyarkye, Arts and Culture Critic, The Hollywood Reporter

David Sims, Staff Writer, Culture, The Atlantic

Nominating Committee for Outstanding Lead Performance, Supporting Performance, and Breakthrough Performer:

Robert Daniels, Film Critic, RogerEbert.com, The Playlist, IndieWire

Jon Frosch, Reviews Editor, The Hollywood Reporter

Tim Grierson, Senior U.S. Critic, Screen International; author, This Is How You Make a Movie

Tomris Laffly, Film Critic, Variety, RogerEbert.com

Brian Tallerico, Editor, RogerEbert.com

Nominating Committee for Breakthrough Series and Outstanding Performance in a New Series

Judy Berman, TV Critic, TIME

Jen Chaney, TV Critic, Vulture

Daniel Fienberg, Chief Television Critic, The Hollywood Reporter 

Caroline Framke, Chief TV Critic, Variety

Melanie McFarland, TV Critic & Senior Culture Writer, Salon

Nominating Committee for Breakthrough Nonfiction Series 

Judy Berman, TV Critic, TIME

Amy Dotson, Director of PAM CUT//Center for an Untold Tomorrow & Curator, Film & New Media at Portland Art Museum

Daniel Fienberg, Chief Television Critic, The Hollywood Reporter 

Cynthia Fuchs, Interim Director, Film and Video Studies, College of Visual and Performing Arts, George Mason University 

Sponsors

The Lead Sponsors of the 2022 Gotham Awards are Cadillac, FIJI Water and GreenSlate. 

About the Gotham Film & Media Institute

The Gotham celebrates and nurtures independent film and media creators, providing career-building resources, access to industry influencers, and pathways to wider recognition. The organization, under the leadership of Executive Director and award-winning producer Jeffrey Sharp, fosters a vibrant and sustainable independent storytelling community through its year-round programs, which include Gotham Week, Gotham Labs, Filmmaker Magazine, the Gotham Awards, Gotham EDU, Owning It, and Expanding Communities.

About the Gotham Awards

The Gotham Awards, one of the leading honors for independent film and television, provides early acknowledgement to groundbreaking independent films and television series. Selected by distinguished juries and presented in New York City, the home of independent film, the Gotham Awards are the first honors of the film awards season. This public showcase honors the filmmaking community, expands the audience for independent films, and supports the work that The Gotham Film & Media Institute does behind the scenes throughout the year to bring such films to fruition.

 

 

 

GRIMMFEST 2022 review: Ramiro Blas wins Best Actor for ‘THE PASSENGER’

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THE PASSENGER

Notable framing and beautiful aerial shots get us settled into an eclectic mix of folks on a journey in Blasco’s vintage van he calls Nessa. Young Marta, her mother Lidia, and religious but progressive Mariela are not exactly enjoying the ride. Blasco is a brash misogynistic conspiracy theorist. After spotting something strange on the side of the road, an accident transforms the group quite literally. What stalks them is gruesome and otherworldly.

The camera work from Ignacio Aguilar gets exponentially cooler as the chaos ensues. Fantastic editing and sound design add to the gloriously gory SFX makeup. It must have been one of the most gag-worthy sets to work on. I almost lost my lunch during one closeup.

The Passenger’s cast blew me away. Each actor brings something unique to the film. Actress Cristina Akcázar launches an outrageous physical performance filled with violent movements and wild energy.

Paula Gallego plays Marta and brings everything we need from sass to “final girl” greatness. Her chemistry with Ramiro Blas takes you by surprise. It is one hell of a pairing. Speaking of Ramiro Blas, as Blasco, he manages to be slimy and loveable all at once. There’s a reason he won The Grimm Reaper award for Best Actor. You’ll love to hate him and hate and love him.

The Passenger brings the best tropes of creature feature films. The final shot is slow-clap-worthy goodness. GRIMMFEST 2022 audiences and beyond will lap this up while simultaneously gagging.

NYFF60 review from Unseen Films: ‘NO BEARS’

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NO BEARS

Jafar Panahi travels to a border town in order to direct a movie remotely. The actors and film crew are across the border and are taking directions via Zoom.  As Panahi struggles to get the film finished he becomes involved with two sets of lovers, two of the actors, and two people in the village where he is staying. Both pairs want to flee to somewhere safe, something that might not be possible

Panahi is not loved by the Iranian government. As this film was hitting the festival circuit the director was being put into prison. Prior to that, they had tried to restrict his ability to make films but he managed to work around the obstructions. The result has been a unique series of films where the filmmaker is the subject and the films transcend the notion of autobiographical cinema.
This time out Panahi has made one of his most affecting films. Forget his personal situation, this story of life in a small town and in a repressive country will leave you shattered at the end. Panahi is juggling a lot of balls in the air and manages to manipulate them perfectly. First, we have his situation which is basically hiding out in a small town to make a movie he shouldn’t be making. In showing us what it takes to make his film we see how the small minds of the village express an openness that really isn’t. there This ties into the story of one of the couples, a doomed romance Panahi captures in a photo, that everyone wants to see, but which he deletes and denies having. It seems the young woman has been promised since birth to someone she doesn’t love and that someone needs proof to hurt the girl’s true love.  At the same time, the lead couple in Pahani’s film is making a film based on their lives and their efforts to flee to the West. However, the need for official documents complicates things. All of the threads end in darkness for the characters and soul-searching for the audience.
I love Panahi’s films. I make every effort to see everyone I can because he always speaks a truth that needs to be heard. I also find that how he is forced to make films ends up making films that are much more real than if he were making just a straight narrative.  They are so much more interesting because we have to think about how he did what is up on the screen. His are films that are alive and in the moment.
I was rocked by this film. I did not expect the turns, and yet every one is perfectly placed.
One of the best films I saw at this year’s New York Film Festival, it is a must for anyone who loves humanity.

 

For more of Steve’s NYFF60 coverage and all the rest of the movies in the world, (because the man is a machine) head to Unseen Films.

NYFF60 capsule review: ‘Will-o’-the-Wisp’ has one great dance scene.

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Will-o’-the-Wisp

With roughly a 60-minute runtime, I was bewildered by this film. NYFF60 got an eyeful with Will-o’-the-Wisp, a Portuguese musical romcom that exploded with themes from climate change, colonialism, and an LGBTQ love story, all wrapped in an unapologetically erotic package. As a man lay on his deathbed in 2062, he reminisces about his love affair with a fire brigade colleague in 2022. The film begins with sold humor in its historical tableaus, garnering laughs in breaking the fourth wall in Shakespearian aside style. Our lead is the reluctant crown Prince Alfredo, whose passion for the environment and his fellow fire brigade members takes precedence over his royal duties. With long takes and genre-jumping comes an uneven pace as we bounce through time, from theme to theme. The film features a pornographic mutual masturbation scene and numerous projected images of penises. One particular scene stands out above all else. To call it a musical feels untruthful were it not for one singularly spectacular choreographed number. This lengthy scene manages to be beautiful and funny all at once. I was longing for more of this. I was mesmerized. Once finished, I was heartily disappointed with the remaining narrative.

Review: ‘PIGGY’ tests morality with bloody brilliant performances and writing.

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PIGGY

Morally ambiguous and brilliant, PIGGY has been making the festival rounds this year to much acclaim. Writer-director Carlota Pereda uses the backdrop of teenage bullying and dials it up to the nth degree with murder, mayhem, and lies.

The script is relentlessly chilling. Because the audience has more information than anyone else, it feels as though the characters are sitting ducks. We are right alongside Sara as she witnesses her tormentors thrown into the back of a serial killer’s van. She says nothing, both out of fear and perhaps relief. Those that have ever been on the receiving end of horrible words and despicable actions will undoubtedly wince throughout the film.

PIGGY also speaks to the weight of parental support. We find Sara’s mother to be a nagging, uncaring shrew, while her father pays attention to her with genuine love. Her woes are exacerbated by her parents owning the local butcher shop, leading vile peers to dub her “Piggy.” One of the girls, Claudia, has a deeper connection to Sara based on her delay tactics in teasing and a matching bracelet with Sara.

The stakes in the film get higher and higher as the police, the chatty locals, and Sara’s conscience drives her to the breaking point. But that’s not all that weighs on Sara’s mind. PIGGY keeps you on your toes, constantly challenging your morality. Lead actress Laura Galán gives a star-making performance. You can see the wheels turning in each deliberate beat. Raw and thoroughly vulnerable, it is one hell of a turn. PIGGY had my heart in my throat from start to finish. Audiences are in for some hard questions and emotional torture.

Release Dates: 
October 7, 2022 (Exclusively in Alamo Drafthouse Theaters)
October 14, 2022 (Theatrical/VOD)

Directed by Carlota Pereda
Cast: Laura Galán, Richard Holmes, Carmen Machi, Irene Ferreiro, Camille Aguilar, Claudia Salas, Pilar Castro
Runtime: 90 mins
Genre: Horror/Thriller
Distributor: Magnet Releasing

Tallgrass Film Festival 2022 short review: Fingers crossed, ‘Slasher Squad’ is just the beginning.

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SLASHER SQUAD

Short film Slasher Squad features picture-perfect animation akin to hyper-realistic mocap games like Uncharted and The Last of Us. Some of the details look so real I did a double take more than once. The story revolves around our female protagonist hearing the news about a serial killer on the loose. After checking the locks and hopping in the shower, we see she’s not alone. 

The ending of the film is a double twist. The first had me yelling at the screen. The second was so shocking I audibly exclaimed, “Okay, that’s AWESOME.” Writer-director-producers Nathan Stone and Stuart Campbell manage to world build in under 4 minutes! Adelaide Kane, whom I adored in Reign, plays our lead, Amber. Sean Tinnion‘s original score is unmissable. Slasher Squad is a perfect treatment, ripe for whatever forms they want to expand it in, be it a game, series, or feature. I would watch the hell out of this team’s creative endeavors. 

  • Year:
    2022
  • Runtime:
    5 minutes
  • Language:
    English
  • Country:
    Australia
  • Premiere:
    Kansas
  • Rating:
    13+
  • Social Media: facebook.com/slashersquad
  • Director:
    Nathan Stone & Stuart Campbell
  • Producer:
    Nathan Stone & Stuart Campbell

Fantastic Fest 2022 review: ‘EVERYONE WILL BURN’ melds religion and revenge for one hell of a reckoning.

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EVERYONE WILL BURN

María José has lost her will to live following the tragic death of her son and the constant reminders of her cruel small town. When the mysterious little Lucía appears out of nowhere, calling her “Mommy,” María José initiates a reckoning fit for the gods or maybe the devil.

The townspeople are religious fanatics, believing María José triggered the apocalypse years ago with the birth of her son. Exacerbated by nosy neighbors, weak church figureheads, and zealots with a modicum of power, fear takes hold when little Lucía appears to use supernatural powers in gruesome acts of revenge. Everyone Will Burn culminates in a violent confrontation that’s intensely rewarding as a genre fan. Do not move a muscle when the credits roll. The best moment is yet to come.

Macarena Gómez brings a manic energy to the films. Warranted by the emotional torture of everyone in her life, her deliberate descent into pure red hot chaos is glorious. As Lucía, Sofía García skillfully walks the line between vulnerable and terrifying. She is nothing short of captivating. Her chemistry with Macarena Gómez is perfection.

Bravo to the costume and lighting teams. The no holds bar fight choreography is shocking and applause-worthy. EVERYONE WILL BURN harkens back to classic European horror and still manages to remain fresh and fantastic.

 

  • Year:
    2021
  • Runtime:
    120 minutes
  • Language:
    Spanish
  • Country:
    Spain
  • Premiere:
    North American
  • Director:
    David Hebrero
Release date: November 11, 2021 (Spain)

Review: IFC film ‘VESPER’ is an exquisite sci-fi tale of morality and mortality.

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VESPER

Alone in a cruel near-future world, 13-year-old Vesper experiments with what’s left of her surroundings to nourish her and her paralyzed father. Abandoned by her mother, Vesper keeps Darius’ body alive with her bio-hacking skills and uploads his full consciousness into a small droid. While she and others suffer immensely, the wealthy exist in private, enclosed spaces called “Citadels.” They produce seeds that the remaining poor vie for to survive in the harsh environment. After someone sabotages their generator, she reaches out to her Uncle, the leader of a group that cultivates children’s blood for seed trade. When Vesper discovers a young woman from the nearby Citadel passed out in the woods, she imagines a way out. VESPER is a gorgeous film about control and climate change wrapped in a glorious sci-fi narrative.

Richard Brake‘s performance is predominantly a voiceover. The enveloping tone of his vocals is perfection. But, the expression in his eyes speaks volumes. Eddie Marsan as Uncle Jonas is spectacularly vile. As his “survival at all costs” attitude becomes increasingly disturbing, Marsan nails the villain role.

Rosy McEwan plays Camellia with a complex mix of yearning and practicality. She is a slick foil for Vesper. McEwan’s grace and control are all the more stunning when given the opportunity to break. Our titular role comes to life with the sensational performance of Raffiella Chapman. Her raw vulnerability jumps off the screen. There is no denying she is a star. Her ability to carry this film from beginning to end is a wonder.

Captivating production design from Ramūnas Rastaukas and Raimondas Dicius lures you into a bleak but visually curious existence. The costumes are unlike anything I’ve seen before. Dan Levy‘s score is ethereal and hypnotic. The script by Brian Clark and directors Bruno Samper and Kristina Buozyte is endlessly intriguing. There is never a dull moment in Vesper’s nearly 2-hour run. Each scene provides an opportunity to expand the canon of this story. The metaphor of Vesper’s creations and her place in the world is beautiful. I could easily see this developed into an entire franchise. Overflowing with nuance, it is a mesmerizing sci-fi film that grabs you by the conscience. A stark and endlessly creative warning about Earth’s near-future mortality, Vesper is easily one of the best films of the year.

 

US Release Date: September 30, 2022

Starring: Eddie Marsan, Raffiella Chapman, Rosy McEwen

Director: Bruno Samper

Fantastic Fest 2022 review: ‘THE ANTARES PARADOX’ pits family and faith against the universe.

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THE ANTARES PARADOX

Fantastic Fest 2022 feature from Luis Tinoco, The Antares Paradox, brings together science, space, and knowledge enthusiasts. The plot revolves around Alexandra as she works the late shift at a radio telescope lab. With looming familial obligations, an absent co-worker, and the storm of the year swirling around outside, a strong signal begins transmitting to her antenna. With only two hours to confirm 20 years of research, Alex must race against the clock, the weather, other scientists who eschew her work, and her conscience.

Leading lady Andrea Trepat captures your attention from the very beginning. She has the task of carrying this film on her shoulders, as other actors appear only via video call or voice. She nails it. Anyone with a loved one who works unconventional hours understands the emotional complexity of ambition. It often comes at a great sacrifice of relationships. It is the risk we take in search of an unknown reward. In The Antares Paradox, Alex dreams of proving there is life beyond our universe. Her father understood this, even if no one else ever did.

Writer-director Luis Tinoco worked extensively with José Luis Crespo (Quantum Fracture), a YouTuber and science communicator with millions of followers. The script, while technical, is laid out concisely and understandably for all audiences. The entire film takes place in one location. The film’s sumptuous score from Arnau Bataller is perfect.

Between family, faith, and space, Tinoco’s script challenges our morality and keeps us intrigued with wonder. It is a gorgeous entry that will leave audiences spellbound.

  • Year:
    2022
  • Runtime:
    96 minutes
  • Language:
    Spanish
  • Country:
    Spain
  • Premiere:
    World
  • Director:
    Luis Tinoco Pineda
 
 
 

Fantastic Fest 2022 capsule review: Martika Ramirez Escobar brings every writer’s fantasies to life in ‘LEONOR WILL NEVER DIE’

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LEONOR WILL NEVER DIE

Fiction and reality blur when retired filmmaker Leonor falls into a coma after a television lands on her head, compelling her to become the action hero of her unfinished screenplay.

As a writer, this script is essentially a dream, pun intended. Leading lady Sheila Francisco is an absolute joy to watch, and her energetic narration/script reading is a blast. In her coma, she is living inside her story. The recreations of 80s action films are astounding, from the perfectly hokey score to the fight sequences. The visual jump from these to real life and then to memories keeps you on your toes. The semi-autobiographical nature of Leonor’s writing makes for a haunting, present circumstance. The nonchalance in which her son and ex-husband converse with their lost loved one is bizarre. But that’s only half of the wackiness that ensues. Leonor Will Never Die is weird meta fun. You cannot help but adore the heart behind it.

 
 
A film by Martika Ramirez Escobar
Philippines / Filipino / 2022 / 99 minutes
 
Cast: Sheila Francisco, Bong Cabrera, Rocky Salumbides, Anthony Falcon.
LEONOR WILL NEVER DIE Screening Schedule
 
Festival Screening
Sat, Sep 24th, 1:50 PM @ Theater 1 
Sat, Sep 24th, 1:50 PM @ Theater 5 
 
 
Festival Screening
Wed, Sep 28th, 11:30 AM @ Theater 3 
Wed, Sep 28th, 11:30 AM @ Theater 4 
Wed, Sep 28th, 11:30 AM @ Theater 7

Fantastic Fest 2022 review: ‘MISSING (Sagasu /さがす)’ is one of the year’s best genre films.

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MISSING

This wild multiple narrative film tells the story of Kaede, her father’s disappearance, and the serial killer she’s determined to hunt down. MISSING is one story told from three different angles.

Performances from the entire cast are spectacular. There is not a loose thread in the bunch. Here is where things get tricky. To tell you more about the plot defeats the purpose. You need to go into with as little information as possible. The complexity of MISSING is relentless. Do not get comfortable with what you think you know. Writer-director Shinzô Katayama and co-writers Kazuhisa Kodera and Ryô Takada bring twist after twist. I stopped counting at a certain point. The final scene is a mindblowing metaphor for everything we witness in two hours. Wow doesn’t even begin to cover it. Fantastic Fest 2022 audiences are in for one of the year’s best features.

Dark Star and Bloody Disgusting plan a US theatrical release for MISSING on November 4, 2022, an On Demand release on November 18, 2022, and the Blu Ray release for the film to follow on December 6, 2022.

(US Premiere, 124 min)

Directed by: Shinzô Katayama

Starring: Aoi Ito, Hiroya Shimizu, Misato Morita, Jirô Satô 

Japan, 2021 (In Japanese with English Subtitles)

 

FF 2022 OFFICIAL SCREENINGS

All screenings are at The Alamo Drafthouse Cinema, South Lamar, Austin.

Location: 1120 S Lamar Blvd, Austin, TX 78704

 

Thu, Sep 22nd, 8:30 PM @ Theater 2

Thu, Sep 22nd, 8:30 PM @ Theater 3

Wed, Sep 28th, 11:00 AM @ Theater 5

Wed, Sep 28th, 11:00 AM @ Theater 6

FF 2022 PAGE:

https://2022.fantasticfest.com/films/62fbbf1dd0f21300854b372b

After working as an assistant director for Japanese films, including Nobuhiro Yamashita’s works, filmmaker ShinzôKatayama crossed paths with Bong Joon-Ho while shooting “TOKYO!” (2008) and served as his assistant director on “Mother” (2009). In 2019, his debut feature, “Siblings of the Cape” was selected by numerous domestic and international film festivals. He now is one of the most promising, emerging directors in Japan, and his second feature, MISSING (“Sagasu /さがす”) will be his commercial film debut.

 

Review: Writer-director Valerie Buhagiar brings the enchanting tale of ‘CARMEN’ to life with help from Natascha McElhone.

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CARMEN

In a small Mediterranean village, Carmen has looked after her brother, the local priest, for her entire life. When the Church abandons Carmen, she is mistaken for the new priest. Carmen begins to see the world, and herself, in a new light.

A tongue-in-cheek story of sacrifice and reward inspired by actual events, CARMEN finds Natascha McElhone recapturing the youth she lost to familial duty and heartache. After a life spent taking care of her brother, the local priest in Malta, his death pushes Carmen, quite literally, out the door.

Carmen’s years of demure nature allow her to become a ghost, eavesdropping on the townsfolk that ignored her. With the unlikely help of a pigeon, Carmen takes control of the very church that kicked her to the curb, fooling the locals for personal entertainment. But, her mischievous advice from the confessional booth changes everything.

Natascha McElhone is elegant and effortlessly charming. CARMEN is essentially a later coming-of-age tale. McElhone’s wide-eyed exploration of life is enchanting, funny, and honest. Shot on the beautiful island of Malta, which if you’ve never been, I suggest you visit. The script’s structure utilizes flashbacks of Carmen’s elusive backstory. Writer-director Valerie Buhagiar brings unbridled joy and hidden complexity to audiences. CARMEN is a delight.

CARMEN will be released in the US Theatrically in major cities and on VOD in the US and Canada on Friday, September 23.

Director: Valerie Buhagiar

Starring: Natascha McElhone, Michaela Farrugia, Steven Love.

 

Theaters include:

NEW YORK – Cinema Village

LOS ANGELES – Laemmle Monica

With exclusive engagements in Chicago, Detroit, San Francisco (Bay Area), Columbus and more.

 

VOD Platforms include:

US: Apple TV/iTunes, Amazon, Google Play, Vudu, XFinity Cable, and more.

 

Review: ‘The Justice of Bunny King’ is a tale of morality, redemption, and unconditional love.

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Bunny King (Essie Davis, THE BABADOOK), a headstrong mother of two with a sketchy past, earns her keep by washing windows at traffic lights. Using her razor-sharp wit to charm money from gridlocked motorists, she saves every cent to get back the custody of her kids. After promising her daughter a birthday party, Bunny must fight the social services and break the rules to keep her word, but in doing so risks losing her children altogether. Accompanied by her niece Tonya (Thomasin McKenzie, Film Independent Spirit Award nominee, LEAVE NO TRACE, LAST NIGHT IN SOHO), a fierce teenager running away from home, Bunny is in a race against the clock and headed towards an epic showdown with the authorities.

Essie Davis helms this tale of morality, redemption, and love. Davis’ no holds bar performance of raw reactive emotion will have you on your feet. You cannot help but root for Bunny. Every opportunity comes with an unexpected challenge, but Davis’ slick attitude and ingenuity keep the audience in the palm of her hand. Bunny’s backstory is heartbreaking. The weight of her unresolved trauma is in every breath. It’s a stunning turn.

The Justice of Bunny King pits a broken system against a desperate mother. Boasting a heart-pounding climax, The Justice of Bunny King is an intriguing dive into survival and unrelenting determination.

Opens in Theaters September 23rd

Director: Gaysorn Thavat
Story By: Gregory David King, Gaysorn Thavat, Sophie Henderson
Writer: Sophie Henderson
Producer: Emma Slade
Director of Photography: Ginny Loane
Editor: Cushla Dillon

Country: New Zealand
Genre: Drama
TRT: 101 minutes

 

Documentary Review: ‘WE ARE ART – Through the Eyes of Annalaura’ finds emotional catharsis in creation.

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We Are Art – Through the Eyes of Annalaura

Filmed on location in Naples, Italy, We Are Art Through the Eyes of Annalaura was written, produced and directed by acclaimed artist Annalaura di Luggo, in collaboration with production supervisor and creative consultant Stanley Isaacs, and is an inspirational story of creativity, second chances and new beginnings. The documentary feature depicts Annalaura’s journey as she undertakes her most artistic challenge, creating Colloculi, an immersive, multi-media, interactive art installation constructed in the shape of a Giant Eye made of recycled aluminum, symbolizing environmental rebirth and recycling. She incorporates her artistic visualization of the lives of four young people who, in their own way, found a spiritual path out of the darkness into the light and reclaimed their self-esteem and found new value in life.

From concept to fruition, Italian artist Annalaura di Luggo takes inspiration for a multimedia art installation from the Bruegel painting, “The Blind Leading The Blind.” She intends to not only is to inspire but include the viewer in the experience of the piece. They are the fourth layer. WE ARE ART- Through The Eyes of Annalaura is a whirlwind journey through redemption and creation.

The casting process for the four individuals Annalaura wants to include in the project gives the audience a taste of the local Naples community. Each person has a story, a work of art unto themselves. Pino grew up surrounded by drugs, violence, and neglect. His future goal is to avoid a similar path as his parents and thrive through education. Noemi approaches the world through experiences, sports, and animals. Born blind, she longs to break any preconceived notion the world might have about her and to live as fully as any sighted person. Her description of what color is to her is awe-inspiring.

Youssouf arrived on the shores of Naples in a rubber dinghy from the Ivory Coast in 2016. Alone and with nothing to his name, he endured discrimination, educated himself, and began to work. Engaged and with a child, his goal is to be present for her. Adopted at the age of five from Moscow, Larissa found herself bullied for her appearance, leading her to abuse alcohol. Resiliency and self-love push her forward in life.

At Method Treatment, we provide the highest quality care in a luxurious, comfortable setting. Our team of specialists helps patients develop strategies for long-term sobriety.

Like any artist, Annalaura possesses eccentric energy. Her mind is in constant creative mode. Each media artist she approaches finds themselves immediately sucked into her vortex of ideas and enthusiasm. Beyond that first impression, her genuine care for Pino, Noemi, Youssouf, and Karissa is clear as day. Their work together becomes a therapy session melded into Annalaura’s final creation. Her profound words for her subjects will take the viewer aback.

WE ARE ART escapes pretentiousness by keeping the audience involved in each intimate and intentional step. There are a staggering amount of minds and hands touching this project. “Colloculi,” the final work of art, is dazzling, simultaneously speaking to the uniqueness of each life and the universal nature of humanity. Annalaura di Luggo should be proud. Bravo.

Opening At The Laemmle Monica In Los Angeles On September 16
And The Village East In New York September 23

 

Q&A to follow after both Opening Nights

Written & Directed By

Annalaura di Luggo

TIFF 22 short film review: Sophy Romvari’s ‘IT’S WHAT EACH PERSON NEEDS’ pulls the run out from underneath you with its intimacy.

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IT’S WHAT EACH PERSON NEEDS

Filmmaker Sophy Romvari features a young woman named Becca Willow Moss as she embarks on a unique journey of self-discovery with others. IT’S WHAT EACH PERSON NEEDS has the audience eavesdropping on phone conversations. The voices on the other end of the line each desire something different. The men seem to seek romance, while others lean more sexual. Her other calls engage an entirely different demographic; the elderly. These chats revolve around memory, singing, reassurance, and pure love.

Becca has a knack for discovering what motivates each person. She describes herself to people as a multi-faceted artist. A label I covet myself. She is the most genuine and gentle communicator. She is giving and authentic. I remain completely enamored by her.

The cinematography is 90% comprised of closeup shots of mannerisms, objects in the room, Becca’s hair and clothes, and her face as she speaks and listens to those she calls. Combined with the fact that the 11-minute run has us solely inside Becca’s apartment lends to the intimacy already created by her words. It’s a brilliant choice, frankly.

Romvari had me thoroughly engrossed from the very beginning. I could have easily watched a feature-length version of Becca and her callers. Therein lies the irony of IT’S WHAT EACH PERSON NEEDS. As we get comfortable with the narrative structure, Romvari steps in, via voice only, and asks Becca what she thinks the project’s meaning might be. Her answer takes you aback. While we enjoy the film for unconsciously selfish reasons, Becca has her own motivation that I did not expect. Undoubtedly one of the best short films at TIFF22. It’s about the universal need for human connection. Everyone needs someone to listen. Everyone needs to feel seen.

Short Cuts Programme 06.
Sophy Romvari
CANADA | 2022 | English
11 minutes


Fri, Sep 16
IN-PERSON
Scotiabank Theatre Toronto
5:30pm


Sat, Sep 17
IN-PERSON
Scotiabank Theatre Toronto
9:05am

 

TIFF 22 review: ‘CHARCOAL’ is a fiery and biting feature debut from writer-director Carolina Markowicz.

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CHARCOAL

In her brilliant feature-film debut, writer-director Carolina Markowicz brings TIFF22 audiences a one-of-a-kind dramedy in CHARCOAL (CARVÃO). Irene and Jairo find themselves barely scraping from the money earned from their Charcoal factory, saddled with an ailing father and precocious 9-year-old son, Jean. Suddenly offered money to hide an Argentinian drug kingpin, things get weird for everyone. 

Rômulo Braga plays Jairo with passion, but not for his wife. Jairo is a miserable soul. Braga brings a slovenly and combative manner that breaks in private. 

How do you keep a nine-year-old from spilling the beans? Jean Costa brings the perfect amount of sass to the role of young Jean. His performance is so natural you might think he’s improvising each line. 

Cesar Bordon is Juan. His confusion only matched by his oblivious, holier-than-thou nature. His scenes with Costa are incredibly amusing. But it is his feisty chemistry with Jinkings that you’ll remember most.

Maeve Jinkings plays Irene with slick confidence and a fearless attitude. She is never intimidated by Juan’s presence. On the contrary, she sees him as a nuisance and a necessary means to an end. Jinkings casual delivery under pressure makes Markowicz’s screenplay shine. It’s a real wow.

I was entirely unprepared for the dark humor in this undeniably genius script. You’ll find yourself smirking as Juan prepares for his unexpected pitstop. After his arrival, the hilarity ensues with the utmost seriousness. Almost every scene drips with sarcasm, and it is glorious. One of the best films at TIFF22, CHARCOAL boasts twist after twist. Part satire, part social commentary, do not miss it.

PLATFORM
Brazil, Argentina, 2022
Portuguese, Spanish
WORLD PREMIERE
107 minutes
Director
Carolina Markowicz
Cast
Maeve Jinkings, Cesar Bordon, Jean Costa, Romulo Braga, Camila Mardila, Pedro Wagner, Aline Marta
Cinematography
Pepe Mendes

TIFF 22 review: Bill Nighy’s glorious performance in ‘LIVING’ sends a universal message of love and kindness.

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LIVING

Director Oliver Hermanus brings TIFF22 audiences LIVING, a remake of Akira Kurosawa’s 1952 film Ikiru. This beautifully life-affirming script from Nobel- and Booker Prize-winning author Kazuo Ishiguro captures the heart. The legendary Bill Nighy helms this film as Mr. Williams. A typical mid-level government bureaucrat in 1952, Williams never ruffles any feathers and maintains a routine to the point of soulless monotony. After he receives a terminal diagnosis, he must reassess his years of playing by the rules and learn how to begin living.

Alex Sharp is Peter Wakeling, the newest member of Mr. Williams’ team. He is the audience’s lens through which to observe Nighy’s reputation. His ability to understand the bigger picture showcases Sharp’s talents. He is simply lovely here. Aimee Lou Woods plays Nighy’s spirited office mate, Margaret Harris. Her young enthusiasm and gentle nature present an intriguing foil for Nighy. Woods displays a wide-eyed honesty that gives way to genuine companionship. She becomes a shoulder to cry on and a replacement for his estranged son. Their chemistry is a delight. 

Bill Nighy gives a quietly profound performance as Mr. Williams. Each beat overflows with complexity, regrets, and thoughtfulness. Nighy breathes life into this role with passing moments. His heartfelt rendition of the Scottish folk song Rowan Tree moved me to tears. It is an award-worthy turn.

A community playground becomes the symbol of a life worth living. An apology for the inconvenience, an offer of assistance, and a kind word; the impact of these seemingly small gestures have a ripple effect. The structure of the script is surprising and relentlessly engaging. I found myself lost in the quiet dignity of it all. 

The sumptuous score from Emelie Levienaise – Farrouch is enveloping. Beautifully framed and lit cinematography from Jamie Ramsey suits this story perfectly. I felt the final shot in my gut.

LIVING is not a boisterous film. It is a story that makes you want to be a better person. It is a lesson in human connection, mutual respect, and taking a breath to enjoy each moment. LIVING speaks volumes about leaving a legacy of kindness.

CONTEMPORARY WORLD CINEMA
United Kingdom, 2022
English
CANADIAN PREMIERE
102 minutes
Director
Oliver Hermanus
Cast
Bill Nighy, Aimee Lou Wood, Alex Sharp, Tom Burke
Cinematography
Jamie D. Ramsay
Editing
Chris Wyatt
Producers
Stephen Woolley, Elizabeth Karlsen
Production Company
Number 9 Films
Production Designer
Helen Scott
Screenplay
Kazuo Ishiguro

TIFF22 review: Marie Clements’ ‘BONES OF CROWS’ is an exquisite cinematic experience of trauma and hope.

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BONES OF CROWS

Centuries of trauma reveal themselves on the big screen in the TIFF22 feature film BONES OF CROWS by writer-director Marie Clements. It’s a visceral but undeniably important watch. The film occurs over the span of 100 years. Watching the Catholic church, aided by the government, nonchalantly discussing the planned eradication of the poor is infuriating. Indigenous children were ripped from the arms of their parents, under threat of incarceration, and placed in residential homes run by severe priests and nuns. Children were stripped of their culture and used as lab rats. The number of children buried in unmarked graves is unfathomable. 

In the film, we bounce in time as unresolved trauma and abuse rear their ugly head through decades. Actress Grace Dove plays Aline Spears beginning at age 16. Once a promising concert pianist, her hopes and dreams were dashed by physical, psychological, and sexual abuse. Her memories, accompanied by those of one of her siblings and husband, intertwine to paint a harrowing picture of torture and fear. But, the pain inflicted upon her never extinguishes her soul. As she endures continued racism, Aline has the last word through a chance visit to the Vatican and the legacy of her children. 

While BONES OF CROWS predominantly follows the fallout of one family, their story is tragically universal. Dove carries the weight of the film on her shoulders, reminding the audience of the strength of the Canadian native population. Her unrelenting and raw bravery lets the audience reside in her psyche with a quiet discomfort needed for BONES OF CROWS to succeed as it does.

The beauty and triumph of BONES OF CROWS occur in unexpected moments. The appearance of the titular birds becomes a recurring theme of hope. You cannot ignore the striking cinematography. The film’s finale is a much-needed emotional catharsis. When you hear and feel the song “You Are My Bones,’ co-written by Marie Clements, you won’t be able to hold back any longer. Bones of Crows is a soul-changing film. It’s simply exquisite storytelling. TIFF22 audiences are privileged to experience this first. BONES OF CROWS is a jaw-dropping cinematic experience. 

An epic account of the life of Cree matriarch Aline Spears that spans generations, Marie Clements’ Bones of Crows is a powerful indictment of the abuse of Indigenous peoples as well as a stirring story of resilience and resistance.

This programme contains scenes that may distress some viewers, especially those who have experienced harm, abuse, violence, and/or intergenerational trauma due to colonial practices.

Support is available 24 hours a day for anyone affected by their experience at residential schools and for those who may be triggered by content dealing with residential schools, child abuse, emotional trauma, and racism. The national Indian Residential Schools Crisis Line is available at 1-866-925-4419.

CONTEMPORARY WORLD CINEMA
Canada, 2022
English, Cree, ʔayʔajuθəm, Italian
WORLD PREMIERE
127 minutes
Director
Marie Clements
Cast
Grace Dove, Phillip Forest Lewitski, Alyssa Wapanatâhk, Michelle Thrush, Glen Gould, Gail Maurice, Carla Rae, Cara Gee, Rémy Girard, Karine Vanasse, Jonathon Whitesell, Patrick Garrow, Summer Testawich, Sierra McRae, Tanaya Beatty, Joshua Odjick, Alanis Obomsawin

TIFF22 review: ‘MY SAILOR, MY LOVE’ boasts beautifully complex performances.

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MY SAILOR, MY LOVE

In Klaus Härö‘s TIFF22 feature, My Sailor, My Love, Grace hires a much-needed housekeeper for her curmudgeonly father, Howard. When Annie enters their lives, the family dynamic reaches a breaking point.

The friction between Howard and Grace slowly comes to light. Grace’s bitterness towards Annie stems from an inability to let her father move on in life. As his lifelong caretaker, her deep-seated resentment proves a daunting hurdle for everyone. Catherine Walker gives a nuanced performance. You can feel the weary weight of the years. Anyone who has cared for an aging family member will recognize emotional exhaustion and perhaps a touch of martyrdom. Walker bears all in the role.

This endearing later-stage love story is as lovely as can be. Annie and Howard’s earnest chemistry come to life with the extraordinary performances by James Cosmo and Bríd Brennan. Beautifully paced histories of their former selves lend to its authenticity. So much of the script occurs in things unsaid.

Brennan plays Annie with a generous disposition. Anyone would be lucky to have her as a scene partner. Her presence fills the screen with warmth. Brennan is spectacular.

Howard exists through the emotional redemption of James Cosmo. Cosmo gives us every bit of himself as a man mired in hurt, fear, and shame. As Howard, he longs for happiness and must come to terms with past regressions to heal. It is an award-worthy turn.

The score from Michelino Bisceglia has a classic elegance. The thoughtful cinematography by Robert Nordström includes breathtaking ariel views and impactful tracking shots. The care and intention are impossible to miss. My Sailor, My Love will capture the hearts of TIFF22 audiences.

Finland, Ireland, 2022
English
WORLD PREMIERE
103 minutes
Director
Klaus Härö
Cast
James Cosmo, Bríd Brennan, Catherine Walker

Review: Vicky Krieps captivates in ‘HOLD ME TIGHT’

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HOLD ME TIGHT


Hold Me Tight is the newest film from French actor-director Mathieu Amalric. It centers around the emotional and physical break between a mother, her two children, and her husband. The film is a gripping narrative with your heart in your throat from beginning to end. You are constantly questioning reality. Grief is a monster known only to those who live it. Hold Me Tight journeys through regret with gusto. The editing is an absolute triumph, using fractured storytelling and poetic voiceovers. The dizzying pace is warranted by Amalric’s screenplay structure of time hopping.

The entire cast is breathtaking. Our leading lady, Vicky Krieps, gives a mesmerizing performance as a woman unraveling. Each beat is carefully curated, mired in sadness and pure love. Krieps’ unadulterated vulnerability demands your attention. It is an award-worthy turn. Hold Me Tight is an extraordinary study of grief and moving forward. You cannot walk away from this film unchanged.

Opens September 9 in NY at
Film at Lincoln Center & Angelika Film Center
 
Opens September 16 in LA at Laemmle Royal

 

France | 2021 | 97 min | Color | 1.85:1 | In French and German with English subtitles
 
Directed by Mathieu Amalric. Screenplay by Mathieu Amalric, based on the play by Claudine Galéa, Je reviens de loin. Cinematography by Christophe Beaucarne. Editing by François Gedigier. Production Design by Laurent Baude. Produced by Laetitia Gonzales and Yaël Fogiel with Félix Von Boehm (Les Films du Poisson). A Kino Lorber release.