Favorite films

  • Beauty and the Beast
  • The Red Shoes
  • GoodFellas
  • The New World

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  • Robe of Gems

  • Burning Days

  • All That Breathes

  • Boycott

Recent reviews

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  • Robe of Gems

    Robe of Gems

    Disappearance is at the heart Robe of Gems. A wealthy, white divorcee, Isabel (Nailea Norvind), moves into her mother’s old rural Mexican villa with her two adolescent children. Their housekeeper, Mari (Antonia Olivares), has a sister who has been missing for over a year. As police reports and community searches provide no resolution, Isabel foolheartedly takes matters into her own hands. Natalia López’s debut feature is a haunting evocation of contemporary Mexico in thrall to violent narcos and kidnappers. The…

  • Burning Days

    Burning Days

    A young by-the-book prosecutor, Emre (Selahbattin Pasali), comes to the small town of Yanuklar, Turkey. An extended aerial shot following Emre’s car as he arrives immediately tells the story: drought. The water table is so depleted, massive sinkholes are swallowing land and homes. Unsurprisingly, a town gripped by scarcity is doubly squeezed by the corrupt officials and political strongmen who manage it. Emre quickly finds himself in a knot of local scandals that put him in direct confrontation with the…

Popular reviews

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  • Please Baby Please

    Please Baby Please

    The film opens on a gang of leather-clad street toughs posing and swaying to discordant jazz. The overt West Side Story reference invites the viewer into the glossy, pastiche-fueled world of Please Baby Please, a title like a 1950’s pop-ballad refrain, saturated in neon, studded with vintage cars, bobby socks, and ascots, and dripping in beatnik slang and poetry. The film’s flamboyant, quasi-musical aesthetic is a firehose of desire, and director Amanda Kramer drowns the screen with style and sensuality.…

  • Nomadland

    Nomadland

    Chloe Zhao’s crepuscular eye and projection of small stories onto grand canvases invites comparison with Terrance Malick, a director whom she greatly admires. But, while Zhao plays at the notes of Malick’s lyricism, she restrains herself from indulging in his transcendentalism. Malick is on a spiritual enterprise; his characters and camera are merely the vessels. Zhao is a materialist. Her films are interested in people and the grounded reality of their lived experience.