NYFF: Kelly Reichardt continues her perfect track record doing absolutely no wrong with the subtle marvel of 'Showing Up'

by Jason Adams

The worlds that writer-director Kelly Reichardt grants us access to with her movies are special places. Even if they’re filled with terrors, as they very often are – her wonderful 2013 eco-thriller Night Moves is not as out of place as it might initially seen – they’re all so delicately spun you might find yourself not breathing lest the spell be broken. The grace on display in her work is meditative, plaintive, lovely even in the most dire of straits. They are quite simply always one of my favorite places to visit. 

And her latest titled Showing Up, which reunites Reichardt with actress Michelle Williams for the first time since 2016’s Certain Women, is another wondrous, delicate world – one I know I’ll be returning to time after time, year after year, to soak in, to absorb whatever wonders and mysteries I can from someone whose view of existence I’m thankful for receiving every single damn time...

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NYFF: The Human Body tenderized in 'De Humani Corporis Fabrica'

by Jason Adams

Do you ever find yourself zoning out to one of those surgery shows they sometimes have on basic cable? Titles like Botched or Plastic Surgery: Before and After where they stick their reality-show cameras into people’s literal guts and poke around? Yeah me neither. A lurid dramatization like the series Nip/Tuck I could handle, but the real stuff’s always been a bridge too far. But then I’ve always had that line drawn in the sand when it came to Horror Movies as well – I’ll watch all sorts of gruesomeness as long as I know it’s fake but you’d have to tie me down to get me to watch one of those Faces of Death videos. 

So why then did I find myself so lulled into hypnotic contemplation by directors Véréna Paravel and Lucien Castaing-Taylor’s surreal-ish surgery documentary De Humani Corporis Fabrica (meaning “Of the Structure of the Human Body” and named after the legendary 1555 anatomical texts) at the New York Film Festival this week?

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Review: 'Don't Worry Darling'

By Glenn Dunks

To quote Lady Gaga: That’s gossip!

To ignore the gossip cycle that has become the press tour of Don’t Worry Darling can be difficult in the macro, but when the movie started it slipped away quite easily. For whatever may have been said about Olivia Wilde’s second directorial feature in the lead up to its release, that friction hasn’t quite come through on screen.

It’s not a good movie in the sense that it is coherent and fully grapples with the ideas it appears to be putting forward. It isn't and it doesn't. But it also is not a bad movie in that it is badly made or devoid of imagination or one where you can tell everybody on set hated everyone else. Which, after everything that’s happened, feels like more of a win in the moment than it oughta be...

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TIFF: A Mother on Trial in ‘Saint Omer’

By Abe Friedtanzer

Last week, France narrowd its list of contenders for the Oscar submission to five. Three of them played at TIFF – One Fine Morning, Paris Memories, and Saint Omer. The last of those has the advantage at the moment thanks to its two prizes at the Venice Film Festival. It’s a difficult, focused drama that deals with motherhood, national identity, and the justice system in France…

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TIFF: Looking for Richard III in ‘The Lost King’

By Abe Friedtanzer

 

Everyone has their “thing,” and some interests are a bit more niche than others. Take Philippa Langley, a writer inspired by her attendance at a staging of Shakespeare’s Richard III to clear the name of the ruler cast as a villain, going so far as to commission a dig that she hopes will reveal his final resting place. Sally Hawkins plays Langley in Stephen Frears’ entertaining and involving The Lost King…

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