From the Saul Bass-inspired opening credit sequence of peeling, layered billboard posters, Pedro Almodóvar evokes the densely layered cinema of Alfred Hitchchock to create a reverent, yet continuously inventive, exquisitely realized, and brilliantly modulated comic melodrama in Bad Education. Ostensibly a story about a filmmaker (Fele Martinez) suffering from a creative block (who, as the […]
Tag: NYFF
Sweetgrass, 2009
During the Q&A for Sweetgrass, Ilisa Barbash and Lucien Castaing-Taylor indicated that they had spent three years filming sheepherding through the Beartooth Mountains on what had initially been conceived as a family activity for the summer because of a desire to capture the last time that a pair of ranchers – hailing from the one […]
Vincere, 2009
Less a biography on the early life of Fascist leader Benito Mussolini than a dissection into creating (and sustaining) a cult of personality, Marco Bellocchio’s Vincere is a textured, operatic, and incisive historical fiction based on the fate of Mussolini’s secret first wife, Ida Dalser (Giovanna Mezzogiorno) who, along with their son, Benito Albino, were […]
My Mother’s Smile, 2002
A young boy named Leonardo (Alberto Mondini) distractedly paces outside his home within view of his quizzical mother Irene (Jacqueline Lustig) as he seemingly conducts an impassioned conversation with himself. Distressed by the overwhelming concept of an omniscient God (an idea that he has recently learned during his religion study hour at school) from whom […]
Saraband, 2004
Revisiting the irreparably splintered middle-aged couple Marianne (Liv Ullman) and Johan (Erland Josephson) of Scenes from a Marriage as they reunite 30 years later, Saraband represents a continuation as well as a culmination of Ingmar Bergman’s spare, late period films, most notably in the purgative confessions and emotionally resigned acceptance of Autumn Sonata. Opening with […]
Since Otar Left, 2003
A refreshingly optimistic, humorous, captivating, and deeply humanist portrait of perseverance and family, Julie Bertuccelli’s Since Otar Left centers on three generations of women – the inimitable grandmother, Eka (Esther Gorintin) who wistfully reminisces over life under Stalin, her widowed daughter Marina (Nino Khomassouridze), and her multilingual, well-educated granddaughter Ada (Dinara Droukarova) – living under […]