Visual literature. The consummation of Veronique's moment to moment beauty is purely inexplicable; a fragmented mosaic of long-lasting emotion and cinematic fervor.
Words for this don't suffice. See it for yourself.
May A Brighter Summer Day rest among the titans of cinema—towering in its depth, modest in its scale, and with rarely a false note during its four-hour run.
In a time where film is constantly being brought to larger and louder places, Edward Yang's masterpiece serves as a beacon of simple complexity.
Andrea Arnold is a singularity in a cesspool of congruency―her camera, her talent, her subjects, all freely moving against the grain―in a world stamped with only one possible signature: hers. This is necessary independent cinema; a burst of creativity and rebellion so badly needed in an otherwise (mostly) standardized arena.
American Honey breathes with a richness in character, so nuanced and so untapped, you just can't wait to see what comes next.
Purely brilliant for its former half, and a little lackluster for the latter, The Lobster definitely overstays it's quirky welcome; though, that's not to say it isn't one of the best comedies (if you can even call it that) of the year. I'm all for anti-plot films, but after the departure from the hotel, its illogicality grows tiresome, as the age-old question of where is this all going? finally begins to dawn.
But, even with its length, Lanthimos is making…