A hyperstylized, subversive and empowering rape-revenge fantasy, Coralie Fargeat’s assured debut feature is all about the execution.
An intoxicating audiovisual experience, Hlynur Pálmason’s Winter Brothers combines a variety of daringly innovative techniques to explore the depths of an unstable young man’s fractured psyche.
The bizarre relationship between two Brazilian women establishes the foundation for a mind- and genre-bending cinematic odyssey in Good Manners.
In The Day After, South Korean auteur Hong Sang-soo employs stylish monochromatic photography and an intoxicating variety of artful techniques to tell a self-reflexive, modern moral tale with shades of gray.
In Beauty and the Dogs, Tunisian director Kaouther Ben Hania employs innovative cinematic techniques to tell a vital and uncompromising tale of female empowerment, but an overall lack of subtlety detracts from the bite of her film.
Jason Furhman kicks off the Madison Film Forum tradition of breaking down the “Big Three” categories at the 2018 Wisconsin Film Festival. This year, Jason focuses on the particularly strong contingent of international films made by female directors.
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.
Edwanike Harbour looks at Alex Ross Perry’s interweaving portrait of Brooklynite malaise, Golden Exits, screened at the 2017 Wisconsin Film Festival.
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.
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.”