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NYFF58: “French Exit” is a nice looking but detached trip overseas

French Exit
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Michelle Pfeiffer dominates Azazel Jacobs’ dry comedy about a formerly wealthy widow who travels to Paris for one last hurrah.

Gena Radcliffe Posted on October 10, 2020October 9, 2020

NYFF: “Tragic Jungle” gets lost in its own mysticism

Tragic Jungle
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Yulene Olaizola presents a nightmarish thriller based on Central American folklore, but its opaqueness makes it hard to truly grasp.

Jonah Koslofsky Posted on October 10, 2020October 10, 2020

NYFF58: “Days” finds connection in the mundane

Days
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The extremely slow pacing of Tsai Ming-liang’s study in loneliness pays off with subtle tenderness.

Gena Radcliffe Posted on September 24, 2020September 25, 2020

NYFF58: “Night of the Kings” is a moving tribute to what keeps us alive

Night of the Kings
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Philippe Lacôte directs a unique film about a young man who’s forced to tell stories to save his own life.

Gena Radcliffe Posted on September 23, 2020September 23, 2020

NYFF58: “MLK/FBI” is a damning look at the U.S. government

MLK/FBI
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Sam Pollard’s latest documentary is a dense look at Martin Luther King Jr. and the Hoover administration’s attempts to silence him.

Jonah Koslofsky Posted on September 22, 2020September 22, 2020

NYFF58: “The Calming” portrays the quiet loneliness of existing

The Calming
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True to its name, Song Fang’s low-key drama will soothe your nerves, but not much else.

Gena Radcliffe Posted on September 19, 2020September 17, 2020

NYFF 57: “Varda by Agnes” Takes You to Film School

Varda by Agnes
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The late filmmaker’s final project was hosting a warm & fascinating look at her extraordinary seven decade career.

Gena Radcliffe Posted on October 9, 2019September 26, 2019

NYFF 57: “Vitalina Varela” Offers No Comfort in Sorrow

Vitalina Varela
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Pedro Costa’s minimalist, based on real events drama is short on plot and long on the relentless weight of living.

Gena Radcliffe Posted on October 9, 2019September 24, 2019

NYFF: “The Whistlers” Never Rises Above a Whisper

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Romania’s Corneliu Pourumbiou bogs down excellent production design in droopy, exposition-heavy noir trappings.

Jonah Koslofsky Posted on October 6, 2019October 6, 2019

NYFF 57: It Takes a Village to Raise Hell in “Bacurau”

Bacurau
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Brazil’s bloody modern Western is occasionally baffling, but never boring.

Gena Radcliffe Posted on October 2, 2019September 19, 2019

NYFF 57: “Synonyms” Is an Israeli Drama Packed With Meaning

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Nadav Lapid’s latest film loads its narrative with impactful stories about masculinity, language, and nationality.

Jonah Koslofsky Posted on September 29, 2019September 30, 2019

NYFF 57: “Pain & Glory” Is Sumptuous, Autobiographic Almodóvar

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Pedro Almodóvar graces us with a shaggy but rewarding portrait of a middle-aged director wrestling with his demons, with an arresting turn by Banderas.

Jonah Koslofsky Posted on September 29, 2019September 28, 2019

NYFF 57: “The Irishman” Is Scorsese’s Most Ambitious, Indulgent Film Yet

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Martin Scorsese returns with another long, sumptuous opus, whose crackling performances and scintillating script are held up by some wonky de-aging tech and a leaden runtime.

Jonah Koslofsky Posted on September 27, 2019September 30, 2019
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