@Courtesy of Netflix The ability of Jacques Audiard consists of working inside the genre and at the same time trying to give his interpretation of it. Depending on the film, he decides to follow its rules or surprise the audience with a slightly different tone. His last Emilia Pérez belongs to the latter case: awarded…
Check out more of CinemaDaily US’ video interviews on our YouTube channel In the early 90s, while at the video store with his friends who wanted to rent Don’t Tell Mom The Babysitter’s Dead, Matthew asked the clerk if they had any copies of Naked Lunch available. A film buff from an early age, he would…
©Courtesy of Together It is no exaggeration to say that the humanitarian crisis involving refugees and migrants is one of the most daunting issues of our day. In the United States, the southern border has become a flashpoint of tension, provoking contentious rhetoric in this year’s presidential election campaign. Abroad, legions of people have been…
Pedro Almodóvar is back at the 62nd New York Film Festival with his first English-language feature film, The Room Next Door, adapted from the novel by Sigrid Nunez, who also wrote the book on which The Friend is based. (You can watch my review of the movie adapting that other book, which also played NYFF,…
If Mary Harron’s 2022 Dalíland — starring Ben Kingsley — took a biographical twist, Quentin Dupieux prefers to embark upon an exercise of style, since his latest work is not a biopic about Salvador Dalí. The French filmmaker’s moving picture — that premiered Out of Competition at the 80th Venice International Film Festival — is…
Check out more of CinemaDaily US’ video interviews on our YouTube channel Critic Matthew Schuchman In the early 90s, while at the video store with his friends who wanted to rent Don’t Tell Mom The Babysitter’s Dead, Matthew asked the clerk if they had any copies of Naked Lunch available. A film buff from an early…
It’s not that often when a movie comes into the September festival season without any distribution but that’s the case with David Siegel and Scott McGehee’s The Friend, starring Naomi Watts, which debuted at the Toronto International Film Festival, then played at the 62nd New York Film Festival. Based on the novel by Sigrid Nunez,…
©Courtesy of NEON In the last ten years, Sean Baker has directed four movies that speak about life like nothing else in contemporary American cinema. Tangerine, The Florida Project, Red Rocket, and last but not least Anora are linked by a vitality that can drag the viewer into a chaotic world populated by flawed, questionable,…
It’s in the glimpses tragic and poetry happen. In the beginning of RaMell Ross’s extraordinary first narrative feature Nicke Boys, a realization of the 2019 Pulitzer Prize-winning novel by Colson Whitehead, which opens the New York Film Festival, the filmmaker creates a world unlike any other. A child’s hand holds a leaf in the grass, a…
©Courtesy of Neon To avoid an eight-year prison sentence for making his latest film The Seed of the Sacred Fig, Iranian filmmaker Mohammad Rasoulof fled his native country to begin a life in exile. In two hours, he made the decision to embark on the risky escape on foot across the mountains. Two weeks later his film…
@Courtesy of A24 Fresh winner of the Silver Lion for Best Directing at the Venice Film Festival, The Brutalist directed by Brady Corbet follows the story of the Hungarian architect László Tóth, who emigrated to the United States after surviving the Holocaust. After a brief and complicated stay with his cousin, the man starts facing…
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