Emily Caulfield reviews Faces Places from legendary French filmmaker Agnès Varda and photo-muralist JR, which kicks off the Spring 2018 schedule at UW Cinematheque. The film assembles a quilt-like portrait of France-at-large by piecing together the small stories of everyday life.
Jason Fuhrman previews an animated short screening tonight at MMoCA’s final Rooftop Cinema this summer. He argues that 663114 develops a theme frequent in the work of Japanese animator Isamu Hirabayashi: the complex relationship between humans and their environment.
Jason Fuhrman reviews the Academy Award winning The Salesman ahead of its return at the inaugural Wisconsin Iranian Film Festival this weekend. A seamless blend of cinema and the theater, Asghar Farhadi’s complex, enigmatic and multi-layered drama intimately examines the fissures in a middle-class marriage about to collapse.
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.
Emily Caulfield explores Lucile Hadzihalilovic’s stunning Evolution, which screens this Saturday as part of WUD Film’s Directress Film Festival.
Grant Phipps examines the latest film from Brazilian filmmaker Anna Muylaert, Don’t Call Me Son, in which a gender bending teenager finds new social circumstances when his biological mother reclaims him.
James Kreul argues that Paul Taylor’s Driftwood, winner of the 2016 Slamdance Film Festival Grand Jury Prize, encapsulates all that is right and wrong with micro-budgeted independent features: intimate, thoughtful, well shot and acted, but also twee and predictable.
James Kreul argues that London Road evokes a surprising range of emotions in what could have been a conceptual exercise: singing words taken from interviews about an infamous series of prostitute murders.
Emily Caulfield reminds us that John Waters’ Multiple Maniacs still has more than shock value after all these years.