AFI Fest: Jafar Panahi’s stark portrait of Iran in “No Bears”

by Eurocheese

Director/Writer Jafar Panahi is currently sitting in an Iranian prison cell. By way of introduction at the AFI Fest, currently taking place in Los Angeles, our audience was reminded of this. That's not all. We were also informed that he has told his wife that this prison stay has been his most difficult – a shocking statement considering his arrest in 2010 led to him to a hunger strike. This set the backdrop perfectly, as the film portrays Panahi’s take on the current state of affairs in his country. 

Within the first few minutes, the fourth wall is broken as we learn Panahi (playing himself) is using a stand-in director to film his new feature, presumably because he is not allowed to direct himself. Meanwhile, he is staying close to his cast and crew in a small town close to Iran's border for a few days...

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AFI Fest: “Selena Gomez: My Mind & Me” shows the star up close

by Eurochees

This year’s AFI Fest opened with a spotlight on pop star Selena Gomez under the direction of Alek Keshishian, who famously brought us Madonna: Truth or Dare (1991). The film kicks off promoting Gomez’s music and telling the audience her backstory, walking us through a career she began at 7 years old on the show Barney & Friends. She has been consistently working since that time, turning 30 this past summer. We learn about the physical toll lupus took on her, an emotionally exhausting period which led her to a breakdown stemming from her bipolar disease. Her decision to go public with her diagnosis ties into her statement later in the film that she is driven by her focus on what to do next when facing hurdles... 

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Review: 'Soft & Quiet' is anything but

by Matt St Clair

Soft & Quiet, the feature directorial debut from Beth de Araújo (a newly minted Gotham Award nominee), is the most anxiety-inducing experience you’ll have watching a movie this year. Taking place over the course of one stressful afternoon, this depiction of a group of like-minded women involved in a harrowing chain of events is bound to leave viewers squirming in various ways. 

When the women first meet up, it seems like a casual get-together. But, as they’re taking out refreshments, group leader Emily (Stefanie Estes) unwraps her pie with a swastika carved in the middle. It's a sudden revelation that this gathering is a meeting for their group called the Daughters for Aryan Unity...

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Review: All Quiet on the Western Front

By Christopher James

Paul Bäumer (Felix Kammerer) heads into World War I in "All Quiet on the Western Front," the German submission this year for Best International Feature.

It’s daunting to remake a Best Picture winner. Steven Spielberg was able to breathe new life and vitality into West Side Story, making it a companion to the timeless original. But, more often than not, filmmakers buckle under the weight of expectations and self importance (like the failures of, say, Steven Zaillian's star-studded rendition of All the King’s Men or Timur Bekmambetov's Ben-Hur).

The Lewis Milestone adaptation of Erich Maria Remarque's anti-war novel All Quiet on the Western Front in 1930 struck new ground for realism, brutality and anti-war sentiments. It earned Oscar wins for Best Picture and Best Director. It's been regarded as a classic ever since, later receiving citations on AFI’s list of best films and best epics and inclusion in the National Film Registry. How could a new film pack a similar punch? Director Edward Berger doesn’t reinvent the story, but his 2022 re-telling of All Quiet on the Western Front is loaded with enough technical panache to make it a worthy, additive remake and a great time at the movies...

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Review: "Holy Spider" weaves a web of provocations

by Cláudio Alves

"Holy Spider" | © UtopiaThe world's obsession with true crime is as old as crime itself. With every new format and possible presentation, another wave of such media arises, making us think, each time, that the collective obsession is a new phenomenon. Oh, how wrong we are, for as much as things change, they remain the same. One aspect constant with every iteration of the true-crime craze is the glorification of the killer. False equivalencies manifest, equating human monsters to criminal geniuses. Great purposes are projected unto them, ideas of grandeur and abstract magnetism. From popular podcasts to Netflix's Jeffrey Dahmer show, true-crime narratives make celebrities out of murderers and exploit truth into legend.

Ali Abbasi's latest film challenges this state of affairs. Reenacted violence and political commentary are at the center of Holy Spider's controversial reputation, but its demystification of the serial killer figure constitutes the picture's most radical provocation…

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