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59th New York Film Festival early bird highlights Futura, Jane By Charlotte, James Baldwin: From Another Place and The Velvet Underground
2022
I have been discomfited watching films before but the anguish here is so genuinely and affectingly captured that it is almost unbearable.
While the framing of cinematographer Gerardo Guerra has a steady calm, González uses every inch of it from side to side and top to bottom to such a consummate degree that even the subtitles have to make way at one point.
The force of nature comes to stunning, searing life thanks to the Kraffts' footage, whether it is rivers of magma or gouts of smoke, with the film gradually building the case that they knew exactly the impact of what they were committing to camera would be.
Gravel cleverly works the tempo, so we feel the occasional moments when Julie almost gets to relax, but that keep being snatched from her, more acutely.
Diwan lets the cold hard facts trickle in as weeks are marked off at the bottom of the screen.
The subtlety Vogt employs as a director pays off in spades as he gets as much creepy mileage from the disturbance of soil and water as any amount of CGI could muster.
The lighting used by cinematographer Rina Yang is some of the best I can recall in an American independent film since Moonlight.
Sengupta has created a colourful, multi-layered and rich work that can be read in many ways, despite its flaws.
Harari and his co-writers Bernard Cendron and Vincent Poymiro, show how the war propaganda becomes internalised in these men, so that even when they are given signs that the conflict may be over, they rationalise that it must be some sort of 'fake news' designed to trick them.
Bareisa successfully contrasts the slow long takes and great blocking, making it a well-balanced watch that will engage you on multiple fronts despite its withholding of many common cinematic devices to facilitates its ambivalence.
While Pettengill is fascinated by the archival content, she’s also not afraid to experiment with form, including digital distortions that identify the movie as a product of the present.
Transcendental is often a pretentious word, but Miyake’s cadenced, Ozu-reminiscent, directorial style has a talent for sensing tensions and charging shots with profound meaning and sereneness.
59th New York Film Festival early bird highlights Futura, Jane By Charlotte, James Baldwin: From Another Place and The Velvet Underground
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Festival showcasing international and Baltic films
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French Film Festival
The UK's longest running celebration of Francophone cinema
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