Ioncinema

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Harvest | 2024 Venice Film Festival Review

Harvest | 2024 Venice Film Festival Review

Sheep, Sheep, Sheep: Tsangari’s Monotonous Treatise on Modernization

Athina Rachel Tsangari Harvest ReviewAdapted from a novel by Jim Croce, Harvest is Greek auteur Athina Rachel Tsangari‘s third feature narrative, and, unfortunately, also her least effective. Described as the director’s take on the Western genre which aims to depict “the trauma of modernity,” it instead plays like a glacially paced bit of folk horror as concerns an unnamed time and place where an obscure farming community has been deemed an obsolete outpost to its money hungry landowners. While an aggressive edit of about thirty minutes from its two-hour plus run time might make its endlessly repetitive interactions feel a bit less languorous, a lack of tension and characterization robs this moral fable from conjuring any real emotional impact.… Read the rest

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Vermiglio | 2024 Venice Film Festival Review

Vermiglio | 2024 Venice Film Festival Review

Baby Machines: Delpero Designs Tapestry of Women’s Miseries During WWII Italy

Despite the associations suggested by its title, Maura Delpero’s sophomore film Vermiglio is a rather cold, calculating, rigid portrait of an isolated mountain village in Italy at the tail end of WWII. While the title is the name of the small community, made up almost entirely of women, children, and the aging men who were too old for military service, in English it means ‘vermillion,’ a scarlet hue used to describe lips as well as a toxic pigment produced by a chemical reaction between mercury and sulfide (not to mention its representation as a bird symbol in Chinese mythology).… Read the rest

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The Room Next Door | 2024 Venice Film Festival Review

The Room Next Door | 2024 Venice Film Festival Review

Triumph of the Will: Almodovar’s Muy Excelente English Debut

Pedro Almodovar The Room Next Door Review“Women and fiction remain, so far as I am concerned, unsolved problems,” wrote Virginia Woolf in her seminal essay A Room of One’s Own, published in 1929. She’s a notable reference point in The Room Next Door, the English language feature debut from Spain’s most iconoclastic auteur, Pedro Almodóvar. And it stars Tilda Swinton and Julianne Moore. Based on Sigrid Nunez’s 2020 novel What Are You Going Through, the notion of spatial orientation is a prominent subtext in this story of two women who were friends and colleagues in their youth, reunited when one of them is entering their final stages of cervical cancer.… Read the rest

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No Sleep Till | 2024 Venice Film Festival Review

No Sleep Till | 2024 Venice Film Festival Review

Eye of the Norm: Simpson Looks at Coastal Coasting with Minimalist, Passive POV

There is a new breed of emerging American indie filmmakers who are Sunshine State-centric, highlighting the unique diversity of its communities and the complexities of its geography. In her feature debut, Euro-American filmmaker Alexandra Simpson captures this essence with an observational style — it’s a little reminiscent of Tim Sutton’s early work. In contrast to typical disaster films (even of the micro-budgeted indie sort), Simpson’s No Sleep Till presents a quiet, sometimes docu cinema where there’s no looming catastrophe or fear porn-driven narrative. Instead, the film portrays a storm as it truly feels—an inevitable part of life—where characters, often with no interconnected stories, simply exist in the moment, embracing the fluidity of time.… Read the rest

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I’m Still Here (Ainda Estou Aqui) | 2024 Venice Film Festival Review

I’m Still Here (Ainda Estou Aqui) | 2024 Venice Film Festival Review

Still Missing: Salles Returns with Survivors of the Dictatorship

“The dictatorship’s mistakes was to torture but not kill,” former Brazilian president Jair Bolsonaro proudly claimed in a 2016 interview, referring to the military dictatorship which created a dystopic reality for the country from 1964 to 1985. It was the sort of vicious absoluteness Bolsonaro gleefully reveled in during his 2019 to 2023 reign, an outrageousness earning him the moniker “Trump of the Tropics.” It was during these years Brazilian auteur Walter Salles was developing his first narrative feature in more than a decade, an adaptation of Marcelo Rubens Paiva’s 2015 book I’m Still Here, enhancing the importance of revisiting the contemporary dark ages we’re only a generation or so removed from.… Read the rest

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The Brutalist | 2024 Venice Film Festival Review

The Brutalist | 2024 Venice Film Festival Review

The Safety of Objectivism: Corbet Unleashes the Survival Instinct of Rational Egoism

“The hardest thing to explain is the glaringly evident which everybody has decided not to see,” so says the heroic protagonist of Ayn Rand’s sensational 1943 novel The Fountainhead, an individualist archetype she intended as “the man that man should be…above all—the man who lives for himself.” It was a tome in which Rand began to craft her controversial theory of Objectivism, which, among its tenets, suggests morality is wholly independent of human knowledge. Filmmaker Brady Corbet, with his third feature, the masterful saga The Brutalist, finds himself, along with co-writer and partner Mona Fastvold, freely inspired by Rand’s iconic novel (and no, their achievement is certainly not akin to the output of ‘second-rater’ mentality skewered by Rand, those collective gatekeepers who squash genius in their contradictory crusade to uphold the greater good).… Read the rest

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The Order | 2024 Venice Film Festival Review

The Order | 2024 Venice Film Festival Review

The True Story of a Racist Gang: Kurzel Explores Formative Chapter of American Domestic Terrorism

There’s a brooding, sinister quality to Justin Kurzel’s filmmaking, whose body of work almost always deals with, either directly or indirectly, the dangerous combination of bruised masculinity and/or wounded nationality entitling men to engage in violence. This was evident in his formidable breakout debut Snowtown (2011), about an Australian serial killer, and continued through his exploration of the mythic in The True History of the Kelly Gang (2019) before he turned to one of Australia’s most infamous incidents of mass shooting in Nitram (2021). Based on his interests, Kurzel seems a perfect fit for wading into the violence which defines and supports America’s belief systems, and soberingly does so in The Order.… Read the rest

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Campo di Battaglia (Battlefield) | 2024 Venice Film Festival Review

Campo di Battaglia (Battlefield) | 2024 Venice Film Festival Review

Down with the Sickness: Amelio Probes Wartime Ethical Dilemmas

Gianni Amelio Campo di Battaglia ReviewThe tagline for Battlefield, the latest from Italian auteur Gianni Amelio, could very well read “You gotta be cruel to be kind,” seeing as it turns on complex ethical dilemmas between two diametrically opposed physicians working side by side in a military hospital in the twilight of WWI. Loosely based on the 2018 novel The Challenge by Carlo Patriarca, it’s a narrative which features Amelio’s significant interests in humans whose experiences are incredibly hobbled either by social expectations or reality, where vestiges of authentic humanity are relegated to the outskirts of society.… Read the rest

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And Their Children After Them | 2024 Venice Film Festival Review

And Their Children After Them | 2024 Venice Film Festival Review

Teenage Wasteland: Boukherma Bros. Sprawl with Coming-of-Age Melodrama

Zoran & Ludovic-Boukherma Leurs Enfants après eux French directing twins Ludovic & Zoran Boukherma swing hard with their fourth feature, And Their Children After Them, a coming-of-age saga taking place across eight years of the 1990s in the deindustrialized (fictional) town of Heillange in Eastern France. There’s a definite richness to the narrative, a change of pace for the directing duo, who, only in their mid 30s have explored several genres, most notably with their 2020 rural werewolf drama Teddy, starring Anthony Bajon. The dense storytelling this time around is no surprise, based on French crime writer Nicolas Mathieu’s celebrated 2018 novel.… Read the rest

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Three Friends (Trois amies) | 2024 Venice Film Festival Review

Three Friends (Trois amies) | 2024 Venice Film Festival Review

Lyon Lies Bleeding: Mouret Explores L’amour Fou (Encore)

Even for those unfamiliar with the filmography of Emmanuel Mouret, his latest film, Three Friends will unequivocally seem ‘tres francais,’ which bears the curse of familiarity and the blessing of credibility as regards complicated romantic entanglements. Co-written by Carmen Leroi (in her first screenwriting credit), it’s a story of three women in modern day Lyon who all seem to be a bit unlucky in love, their understanding of it both paralleling and intersecting one another. The narrative thrust is right up Mouret’s alley, covering similar territory quite recently with offerings such as 2020’s Love Affair(s) (read review) and 2022’s Diary of a Fleeting Affair, where marriages end up being situations requiring an escape either sought after or accidentally transpiring.… Read the rest

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