Directors’ Weekend Catch-Up: The Beguiled

Sofia Coppola’s latest feature, The Beguiled, carries the theme of loneliness, which was present in her previous work like The Virgin Suicides and Lost In Translation, due to the physical isolation that the main characters feel. However, what makes The Beguiled far different from those two films is how it serves as a pastiche of […]

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Maren Ade’s Latest Film Toni Erdmann Is Both Long And Alluring

When the movie Toni Erdmann entered our lives last May we assumed without agenda this was about a father’s relationship with his (grown-up) daughter. Which it kind of is, but more than that it turns out to be about a daughter, and her relationship with her (juvenile) father. This is not exactly a devastating plot […]

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NZIFF Review: The Square

After a satisfyingly diverse NZIFF for 2017, all eyes were on the Closing Night film, Ruben Östlund’s Palme d’Or winning satire The Square. Not only is the film wholly deserving of its Cannes win, it was also a perfect finale for the Film Festival. The Square takes a tongue-firmly-in-cheek look at a modern art gallery […]

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Masterpiece Memo: Le salaire de la peur (Wages of Fear)

The Fifties, that squeaky-clean decade of that saw the birth of the suburbs, strict morality and, the McCarthy era, also had the misfortune to precede the Sixties and Seventies in film history because the number of industry–challenging styles of storytelling positively exploded in the latter two. Since then, with a couple of major exceptions like […]

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NZIFF Review: The Killing of a Sacred Deer

  One of the benefits of film festivals like NZIFF is that cinephiles have the opportunity to sample some very different fare from what is offered on a regular basis, and if you’re looking for something to challenge you cinematically, Yorgos Lanthimos’s The Killing of a Sacred Deer absolutely fits the bill. The Killing of a Sacred Deer is […]

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NZIFF: The Square

Following the astonishing Animation NOW! programmes that opened the New Zealand International Film Festival, over in Auckland the first feature film to screen is the Palme d’Or winner at this year’s Cannes Film Festival, The Square. Ruben Östlund’s intriguing, slick, somewhat disturbing drama also boasts a satirical reflection on the art world, our cultural and social […]

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Want To Write About Film?

Okay, listen up. I just quickly wanted to update everyone with the upcoming events at the site in the coming months. The year in film has pockets of varying sizes at a hand’s reach when you make it your mission to provide motion picture covfefe. And I am constantly thinking / dreaming / antagonizing about […]

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10 Female Directors Who Could Have Won At Cannes

Sofia Coppola’s Best Director win at the 2017 Cannes Film Festival not only put a huge pin in the map of film history, it also marked an extremely popular win for one of the world’s most beloved filmmakers. I skipped through the pages of the history of Cannes to illuminate 10 other talented female directors […]

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Festival de Cannes 2017 – Winners

Cinema#Cannes2017 Are Joaquin Phoenix and Lynne Ramsay both winning this evening for You Were Never Really Here? — Robin Write (@WriteoutofLA) May 28, 2017 TOLD YOU Cannes Compétition Prospectus – In the Fade https://t.co/gjVFoP8Qvs via @WriteoutofLA — Robin Write (@WriteoutofLA) May 28, 2017 #Cannes2017 Wow Ruben Ostlund is a showman too. Cannes 1 Oscars 0. […]

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Cannes Compétition Prospectus – You Were Never Really Here

You Were Never Really Here Lynne Ramsay United Kingdom, United States, France CRITICAL RESPONSE “Male directors are often criticized for having a taste for gratuitous violence, but Ramsay gets down with the big boys in proving that blowing heads off can be a genderless pursuit. “You Were Never Really Here” is rumored to have only […]

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Cannes Compétition Prospectus – L’amant double

L’amant double François Ozon France CRITICAL RESPONSE “A sexy, deliciously silly and twisty thriller that laughs in the face of commonplace reason and ecstatically dials up its weirdness at every plot turn, Ozon’s film was a welcome reminder of the possibilities of cinema and its ability to fiendishly pull the rug from under a viewer.” […]

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Cannes Compétition Prospectus – In the Fade

In the Fade Fatih Akin Germany CRITICAL RESPONSE “For good or bad, Akin has to grapple with the fact that everyone continues to compare his recent films with “Head-On,” one of those rare, hip crossover movies with appeal to critics and general audiences alike. Given the theme and Kruger’s incandescence, “In the Fade” may do […]

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Cannes Compétition Prospectus – A Gentle Creature

A Gentle Creature Sergei Loznitsa Ukraine, France CRITICAL RESPONSE “Loznitsa has always been a director fascinated by faces, the sheer variety of human expressions and physiognomies, so even if the film seems underscored by a steady drum beat of fury at the cruelty people can inflict on one another, there’s also a keening air of […]

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Cannes Compétition Prospectus – Good Time

Good Time Joshua and Ben Safdie United States CRITICAL RESPONSE “Good Time is a poignantly ironic title: it means the reduction of jail time for good behaviour. Any time spent outside prison is good time, although the law-breakers here do not quite appreciate this and seem to be living in a kind of jail ante-chamber. […]

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Cannes Compétition Prospectus – Rodin

Rodin Jacques Doillon France, Belgium CRITICAL RESPONSE “Jacques Doillon delivers a useful educational tool for the armchair traveler too lazy to go to a museum. Or read a book. What it’s not so good for is a cinema audience expecting more than a plodding two-hour lesson in the artist’s life.” – Jay Weissberg (Variety) “It’s all […]

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Cannes Compétition Prospectus – The Beguiled

The Beguiled Sofia Coppola United States CRITICAL RESPONSE “Coppola completely sucks out any of the original’s over the top sequences for more art house, painterly images instead. Wise decision. Eastwood’s civil war film hasn’t aged well, but Coppola saw something intriguing in remaking it as a feminist fable.” – Jordan Ruimy (World of Reel) “With one […]

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Cannes Compétition Prospectus – Radiance

Radiance Naomi Kawase Japan, France CRITICAL RESPONSE “Kawase’s work demonstrates an interest in the metaphysical, whether it involves speculation on the afterlife or the meaning of life here and now. She is the rare director who portrays disability, illness or old age as normal aspects of existence, not unique tragedies. Her work can also be […]

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Cannes Compétition Prospectus – The Day After

The Day After Hong Sang-soo South Korea CRITICAL RESPONSE “The Day After has its share of wry musings and twitchy banter between characters to counter its visual stasis and lulling storytelling. It attains a kind of grace, however, in its final act, which all but replays an earlier encounter — Hong’s favorite narrative party trick […]

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Cannes Compétition Prospectus – Happy End

Happy End Michael Haneke France, Germany, Austria CRITICAL RESPONSE “Haneke’s magisterial control of tone, actor and shot is not to be underestimated: there are scenes of quiet, nuanced authority and menace here that, true to form, compel our attention with their glacial brilliance… For once, Haneke’s famous narrative reticence feels frustrating rather than rewarding.” – Lee […]

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Cannes Compétition Prospectus – The Killing of a Sacred Deer

The Killing of a Sacred Deer Yorgos Lanthimos Ireland, United Kingdom, United States CRITICAL RESPONSE “As in all his best work, Lanthimos is brilliant at summoning up a whole created world and immersing us in it. But its weirdness has a double meaning: it has a stylised element of absurdism and it is also a […]

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