Vadim has written 4 reviews for films rated ★★★½ during 2022.

  • Constant



    I interviewed the directors of this film, which made me finally look up what “point cloud animation” and “photogrammetry” were after years of seeing examples I couldn’t name in experimental films.

  • Friends and Strangers

    Friends and Strangers


    We shot Friends and Strangers on an ARRI Alexa, but like a 2010 [camera]—one of the very first versions released, which still has the same sensor, the same image basically as what the Alexa Minis, or whatever the latest ones are, use. But it’s bigger, it chews through a lot more power, it’s noisier, it’s extremely heavy, so cinematographers and directors working commercially are happy to pay $100,000 [for a newer camera] instead of $10,000, which is what we paid…

  • The Dream and the Radio

    The Dream and the Radio


    I’ve never had the true believer intensity that would draw me to a director’s bio that reads, in part, “Renaud Després-Larose studied philosophy in Montreal before choosing to devote himself to cinema.” Oh good! I sat down and devoted myself to the darkest (in a very literal sense) movie I’ve seen since Vitalina Varela; it wasn’t super-surprising (in fact, rather validating that I guessed right) to see Pedro Costa thanked in the end credits for an indeterminately phrased form of…

  • Dos Estaciones

    Dos Estaciones


    In the opening sequence of Juan Pablo González’s second feature, Dos Estaciones, DP Gerardo Guerra’s Steadicam roves a tequila farm’s fields as workers chop down agave plants; when they pause for lunch, the camera pans equally slowly, seemingly without planning, to bring whoever’s speaking into frame. In these opening moments, Dos Estaciones could be any one of a number of post-Lisandro Alonso films composed of tracking shots, slow pans and nonprofessional performances by Latin American laborers, differentiated only by the…