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  • Badlands

    Badlands

    Something hovers around this film, like an ever-present impending force. Kit and Holly tear away from the world to create their own. It’s a secret world full of beauty and magic, but it’s always tinged at with darkness around the edges. We know they’re doomed to fail. It’s an impossible project, born from Kit’s crazed commitment. It’s a commitment to something unseen, some ineffable presence in his eyes, and Holly wants to get at it. But the sheer force of…

  • Paris, Texas

    Paris, Texas

    I’ve always remembered the very precise beauty of Robby Muller’s work here, a slight stylization of ordinary, rustic Americana into almost postcard-like images. It reminds me of William Eggleston’s photography. But watching it this time, I was struck by how much further this precise construction seeps into the film. Everything is so heavily mediated. The film is constantly building frames within frames; we see Paris, Texas contained within the boarders of an old photo; memory is only retrieved through the…

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  • Atlantics

    Atlantics

    Diop moves so effortlessly through her liminal world that it leaves you stunned. Her opening images are covered in a cool sheen - misty ocean waves, floating curtains, light projections, smoky hazes - all to create a space between counties, between languages, and between realities. It’s a place where reflections hold more truth than what they reflect, and the dead burn their way back to life. This is how you fuse politics with plot, and this is how you play with genre. Spectacular!

  • Black Tide

    Black Tide

    For better or for worse, Vincent Cassel takes another step towards becoming the Nicholas Cage of France.