A deadpan black comedy about the class struggle, Lukas Valenta Rinner’s A Decent Woman meticulously exposes the structural violence inherent in contemporary Argentinean society, but finally falls short of its subversive potential. Jason Fuhrman reviews the film to continue our 10-day Wisconsin Film Festival preview.
Looking at an old VHS copy of King of Jazz, James Kreul lists ten images that he looks forward to seeing restored to their original early Technicolor splendor at the Wisconsin Film Festival.
The Traveler, an early short feature film by Abbas Kiarostami, anticipates many themes that appear in his later work, but also showcases a much looser, kinetic visual style. James Kreul reviews the film as part of our 10-day Wisconsin Film Festival preview.
Which visiting filmmaker should provide the lede for our coverage of the 2017 Wisconsin Film Festival? We suggest a less obvious answer with our Big Auteurs preview, the first of three themed schedule overviews this week.
While far from a radical gesture, Andrzej Wajda’s Afterimage lingers in the mind as a vivid, somber portrait of a defiant artist systematically crushed by the machinery of Soviet oppression. Jason Fuhrman continues our 10-day Wisconsin Film Festival preview with his review.
A touching film about the relationship between region, family, and identity, Sami Blood offers a glimpse into a shameful period in Scandinavian history. Edwanike Harbour continues our 10-day Wisconsin Film Festival preview with her review.
Kati Kati delivers a high concept ghost story set in a mysterious limbo between life and afterlife, from a new generation of African filmmakers who make a strong case for more indigenous filmmaking. Emily Caulfield continues our 10-day Wisconsin Film Festival preview with her review.
Edwanike Harbour kicks off our 10-day Wisconsin Film Festival preview with a look at Contemporary Color, a dazzling portrait of color guard performances with music provided by big names in indie pop.
Emily Caulfield concludes our coverage of WUD Film’s Directress Film Festival with a look at Canadian animator Ann Marie Fleming’s latest feature, Window Horses.
Edwanike Harbour argues that director Kelly Reichardt (Wendy and Lucy, Meek’s Cutoff) delivers a beautiful bore with her new feature, Certain Women, which returns to Madison on Saturday for WUD Film’s Directress Film Festival.