Cristi Puiu’s MMXX revisits the year he whipped up a bunch of coronavirus controversy with a typically austere anthology that lacks the smarts of his best work.
MMXX. Cristi Puiu Revisits his Annus Horribilis Through Lengthy Anthology.
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Exploring the Outer Edge of Film
Redmond is the editor-in-chief of Journey Into Cinema.
Cristi Puiu’s MMXX revisits the year he whipped up a bunch of coronavirus controversy with a typically austere anthology that lacks the smarts of his best work.
Days of Happiness may offer the antidote to Tár’s toxicity, but it lacks the passion needed to make for a masterful conductor character study.
Vermin is one of the downright nastiest yet compelling creature-features made in recent years, a true standout of the Venice Film Festival.
The American West seems as expansive and inclusive as ever in Luke Gilford’s queer Western romance National Anthem — live from TIFF.
The careers of three excellent actresses are launched in Mika Gustafson’s sensitive ode to the travails and beauty of youth — live from Venice Film Festival.
The perils of being a vampire in a regular-old world are subtly investigated in For Night Will Come — beating away clichés before eventually succumbing to them.
Sculpture unlocks the essence of a man in Anaïs Tellenne’s tender, enigmatic debut The Dreamer — live from Venice Film Festival.
Behind the Mountains mixes thriller themes with the supernatural genre, to mixed, often underwhelming effect — live from Venice Film Festival.
One man’s quixotic dream to host a Pink Floyd concert in the Amazon rainforest is frustratingly explored in The Outpost — live from Venice Film Festival.
The practicalities and pitfalls of vampire life are warmly investigated in the mostly enjoyable Humanist Vampire Seeking Consenting Suicidal Person.