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  • Our Father

    Our Father

    Too few films have the confidence to overlap opposing emotional registers, extracting the potential for joy and hope out of extreme sorrow. Fewer still have the skill to pull off such poetry with the subtly found in Haroun’s images. In a meticulously constructed narrative, he masterfully shifts movement through the foreground and background of his frames without ever falling into the easy trap of showing off. He conveys visual information with enough ambiguity for the audience to draw their own…

  • The Whistlers

    The Whistlers

    In a narratively convoluted caper set up, an assortment of informers, undercover officers, and chronic double crossers weave through a story full of empty film sets, secret meetings in cinémathèques, inadvertent location scouts, and sudden references to canonic films like Psycho and 2001: A Space Odyssey. Yet, all of this formal foregrounding is mixed with the set of realist conventions one would expect from a Romanian New Wave auteur. What really ties this mixture together is the film’s central conceit…

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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.