Magical Girl Transformation: Alice Maio Mackay’s ‘The Serpent’s Skin’
For all that feels familiar about “The Serpent’s Skin” — a horror film featuring demonic possession, witchcraft and characters connecting…
Review
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Caught Between Tragedy and Utopia: A Review of Liz Sargent’s ‘Take Me Home’
Within minutes of the feature, L. Sargent’s intention to shift away from her proof-of-concept 2023 short becomes obvious. Though captured by different cinematographers, both films share similar documentary-style camera work and capture a tone of devastating and tender social realism. A striking difference, however, is the father’s, Bob’s (Victor Slezak), absence in the short and significant presence in the feature, in which he almost completely replaces Anna’s fellow adoptee sister, Emily (Ali Ahn). This drastically shifts the film from a depiction of sisterhood to one of parenthood complimented by sisterhood.
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Repetition and Hopelessness in “Taste of Cherry”
The Independent was invited to cover “Taste of Cherry” during the Boston Festival of Films from Iran at the Museum…
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“Nirvanna: The Band – the Show – the Movie” the Review
The film is a celebration of a style that has largely disappeared from mainstream media. The comedy relies almost entirely on pop culture references and situational humor. It is a return to a simpler style of comedy, similar to that made by early YouTubers who had little but their friends and a webcam. While it still has that “early internet” feeling, Johnson and McCarroll find a way to make it relevant. Meta 4th-wall breaking and seamless restitching of never before seen archival footage are used tastefully rather than shoved in the viewer’s face. The movie is almost entirely set in real Toronto locations, harkening back to the 2000s style of mockumentary filmmaking popularised by projects like “The Office” and “Borat.”
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Guam’s Sainas talk cultural dance in “Something to Call Our Own”
Project Inspire and PBS Guam’s enculturating dance documentary, “Something to Call Our Own,” distinguishes itself as a canonizing force for…
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In ‘Peter Hujar’s Day,’ That’s the Way It Happened
“Peter Hujar’s Day” tells the unconventional true story of a day in the life of the photographer Peter Hujar, as…
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“After the Hunt” Captures the Explosive Cost of Self-Deception
Luca Guadagnino (“Call Me By Your Name,” “Bones and All,” “We Are Who We Are”) is known for slow-paced projects that linger in the moment. Locations are utilized as a force rather than a backdrop for the characters. In his newest work, “After the Hunt,” Guadagnino takes on the most terrifying force of all: the Ivy League campus.
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The ‘Homestuck’ Pilot: A Revival of an Internet Epic Draws in New Viewers and Old Fans.
While reactions to the pilot’s trailer in August voiced both concern and excitement, fans anticipate what the future of the animated debut holds.
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‘Die My Love’: The Domestic Politics of Sex, Gestural Cinema and Rock & Roll, Baby!
CANNES — If you, like me, have a soft spot for “character acting,” John Prine and a general partiality for films that make you itch just looking at them, Lynne Ramsay’s “Die My Love” might just emerge from Cannes as your perfect darling. Granted, in the world I live in, you can get away with anything if you make enough Nick Lowe references. God help the beast in me…
