Review: "Orlando, My Political Biography"

by Cláudio Alves

The future of cinema is in non-fiction. Though conventional narrative cinema still dominates the mainstream, it's within the documentary realm that the medium's most radical innovations tend to manifest, paving a path to the seventh art's tomorrow. That said, to consider cinema in binaries may be holding on to an outdated model. The way forward could entangle the cinema, as Iranian and Portuguese filmmakers have done for decades. In that regard, Orlando, My Political Biography is the future of cinema dressed in ruffs, non-binary, and transgressing past neat categorization.

Philosopher turned director Paul B. Preciado rejects structural dualities in search of something somewhere between academism and anarchic theater, a reflection of his and his subjects' essential queerness…

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Luca Guadagnino has dropped another project

by Cláudio Alves

Back when Luca Guadagnino first announced his plans to remake Suspiria, many were skeptical – me included. Why would we need a new take on the material when Argento's 1977 classic is such a candy-colored masterpiece? It turns out that Guadagnino was idiosyncratic enough to get away with it, proposing such a distinct vision that comparing it to the other movie feels beside the point. Hence, when the director told the world he'd helm a Scarface remake from a Coen Bros. script, the consensus was more hopeful than before. Well, that picture is officially off of Guadagnino's schedule, joining the ranks of many a dropped project…

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Grammy Nominations: Taylor, SZA, Meryl Streep (!), and "Barbie"

by Nathaniel R

The Grammys are not a focus here at TFE (pick your lane!) but we do like to sound off at least a bit when the nominations are announced. Our primary excuse is that there are some categories that overlap with the acting arts (film, tv, stage). But before we get to those a quick look at the big four categories. The nominees for the top prizes at the 66th Grammys are...

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Marty's on Letterboxd! Are You?

by Cláudio Alves

During the actors' strike, many directors were put front and center of their films' promotion, stepping into the place usually occupied by their stars. It's an understandable strategy, alright. That's what happened to Killers of the Flower Moon, which, regardless of the industry's actions, would have hinged much of its publicity on Martin Scorsese. However, his centrality in the marketing meant we got to see more of him than expected, including a social media surge that can probably be attributed to the director's daughter, Francesca Scorsese. Between TikTok videos and snappy interviews, the old master even joined Letterboxd…

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Best International Film: Switzerland's "Thunder" and Austria's "Vera"

by Cláudio Alves

After a litany of TIFF titles, Sweden's Opponent, and a pair of Latin American gems, let's take our Best International Film odyssey to Central Europe. There, we find a most curious couple from neighboring nations – a Swiss period piece about sexual repression and an Austrian docu-drama hybrid on an Italian celebrity. Both countries succeeded with the Academy in the past, having won twice each. Switzerland had its heyday in the last decades of the 20th century, taking the trophy for 1984's Dangerous Moves and 1990's Journey of Hope. For Austria, the triumph's more recent, with 2007's The Counterfeiters and 2012's Amour.

Thunder and Vera aren't likely victors like those past titles, but they're worth your time, nevertheless…

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