Wisconsin Film Festival previews, reviews, and discussions.
A stylistic tour de force, Bertrand Bonello’s audacious
Nocturama captures the alluring emptiness of modernity with extreme realism and clever experimental flourishes. Jason Fuhrman shares his response to the Wisconsin Film Festival screening.
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Edwanike Harbour looks at Alex Ross Perry’s interweaving portrait of Brooklynite malaise,
Golden Exits, screened at the 2017 Wisconsin Film Festival.
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Jason Fuhrman shares his notes on
Maria (and Everybody Else) and
The Donor, two films screened during the opening weekend of the 2017 Wisconsin Film Festival.
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James Kreul shares some preliminary thoughts on the first half of the 2017 Wisconsin Film Festival. Topics include admitting what he missed in his previews; applauding students for affirming their own brand; and spinning a “tale of two festivals.”
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James Kreul surveys the Big Docs at the Wisconsin Film Festival, completing the third part of our overview of 2017 Festival programming.
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James Kreul finally delivers the Big Indies preview, after being torn by long internal debate about how much to rip into
Sylvio.
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Steve James (
Hoop Dreams,
Life Itself) returns with a portrait of a community-driven Chinese-American family caught in the middle of the mortgage crisis backlash in
Abacus: Small Enough to Jail. New contributor Nicole Rogers reviews the film as part of our 10-day Wisconsin Film Festival preview.
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Hong Sang-soo’s charming absurdist allegory
Yourself and Yours takes a modern look at the renewable spirit of romantic love, the fluidity of self and identity, and the idea that maybe we should all just get a drink and get along. Emily Caulfield reviews the film to continue our 10-day Wisconsin Film Festival preview.
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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.
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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.
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