While the limits of Michael Cera’s obliviously adorable moppet act are on full display in Arrested Development, Sebastián Silva’s Sundance-winning Crystal Fairy provides the actor an opportunity to show off the unexpected and fun flip side of the coin: an obliviously assholish millennial.
Exposition is nearly nonexistent; no subtitles are provided for the non-English dialogue—putting us in the place of the protagonists, travelers of differing national origins in a foreign country—and we only learn the names of people and other particulars as the story moves along.
Sleeping Beauty is withholding to a fault, providing only the barest scraps of information about protagonist Lucy (Emily Browning), a perverse set-up since affording her a voice and the expressive capacities of consciousness would seem to be the film’s raison d'être.
Fair to say, my life in New York revolved around movies. It’s no wonder that leaving again—about two and a half years ago, I moved to Portland, Oregon, for the hell of it, ready for a new experience—felt almost like I was banishing myself from the film world.
Unlike Olmi’s more straightforwardly realist depiction of the hopeful beginnings of a clerical worker en route to a humdrum existence in his heartachingly lovely breakthrough Il Posto, Wooden Clogs—which won the Palme d’or at Cannes in 1978—contains moments of idyllic allure.
Canadian writer-director Ruba Nadda’s Cairo Time, like her last feature, Sabah: A Love Story, superficially explores Arab and Western relations on a microcosmic scale, as played out in a romance between a man and woman gazing at one another from across the cultural divide.
Eternal Sunshine raises a sci-fi rumination on memory, love, and loss to the heady heights of modern masterpiece.
Hirokazu Kore-eda’s films are haunted by the specter of death—from the exquisite undercurrent of loss infusing Maborosi to the explicitly gimmicky conceptualization of the hereafter in After Life to the looming danger hovering over the abandoned children of Nobody Knows.