In her fourth and final post on the 2015 New York Film Festival, Martha Nochimson talks about loss as an organizing principle for Michael Moore’s documentary Where to Invade Next and Don Cheadle’s biopic Miles Ahead.
This series on the NYFF52 concludes with consideration for Foxcatcher, Tales of the Grim Sleeper, and Clouds of Sils Maria.
In part three of the NYFF52 series, interesting masculinities are explored in Gabe Polsky’s documentary Red Army, Mike Leigh’s biopic Mr. Turner, and Mathieu Amalric’s feature The Blue Room.
Part two of this series on the 52nd New York Film Festival focuses on Alain Resnais’ Life of Riley, David Cronenberg’s Maps to the Stars, and Abel Ferrera’s Pasolini.
This year a number of the initial screenings have left me wondering whether they can conceivably get any better.
In the final installment of this four-part series, love is the theme shared between Spike Jonze’s HER, Jim Jarmusch’s Only Lovers Left Alive, and Ralph Fiennes’ The Invisible Woman.
Steve McQueen’s vision of the invention of slavery in 12 Years a Slave complements J.C. Chandor’s image of the fantasy of a heroic white elite in All is Lost.
In A Touch of Sin, director Jia Zhang-ke continues to address the wounds inflicted by Mao’s Cultural Revolution on historical continuity and individuals’ self-worth in contemporary China.
The first installment of a series on the NYFF considers films that radically push cinematic limits: James Franco’s Child of God and Catherine Breillat’s Abuse of Weakness.
Our fourth, and final collaboration with the Society for Cinema & Media Studies to review the New York Film Festival concludes with a discussion of Amor, Night Across the Street, and Holy Motors.
Our third post on New York Film Festival 2012 is a collaboration with the Society for Cineman & Media Studies, and reviews three films from the festival: NO, Ginger and Rosa, and Not Fade Away.
Taking on selections from this year’s New York Film Festival.