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The story is what first catches the attention. A man who can draw his gun faster than anyone else finds himself forced to kill many others, in many American towns, as each new opponent tries and invariably fails to take his title. This premise would not be half as interesting
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At first glance, Robert Eggers’ The Northman does not seem all that different from other epic films set in the distant past, and comparisons to Ridley Scott’s Gladiator — as much from critics as from the film’s marketing team — are not totally unwarranted: in both films, the son of
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In his op-ed for the Los Angeles Times, Martin Scorsese tried to convince readers to go see Guillermo del Toro’s Nightmare Alley by writing that “the urgency and despair of then overlaps with the urgency and despair of now in a way that’s quite disturbing.” I don’t
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When we first meet the beautiful Selma (Zoé Adjani), she is passing an oral exam for a prestigious economics school in Paris. Outside, she immediately sets her sights on a beautiful male student, and their brief chat is unapologetically horny. Later on, during what appears to be one of those
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Right now in Paris, hundreds of cinephiles are occupying a cinema to try and save the building from being sold to the highest bidder. Since being put on the market by its owner in 2018, the cinema La Clef in the Quartier Latin of the French capital has been occupied
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Merry Christmas to all who celebrate! To end the year on a positive note, Animus editor Elena Lazic asked the writers from the magazine's first five issues to each briefly write about one of their most memorable and powerful film experiences of the year, whether it was with
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El Father Plays Himself is so much more than a making-of documentary. Director Mo Scarpelli charts not so much the making of a film, as she does the making and re-making of a relationship — that between her partner, Jorge Thielen Armand, and his father, Jorge Thielen Hedderich. Son is directing
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Besides its original, welcome and refreshing focus on refugees, Remi Weekes' His House also stands out for its nuanced and unconventional portrayal of (survivor’s) guilt and trauma, undermining cliches and expectations at every turn to craft a more unstable and therefore more haunting kind of horror.
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The poor quality, cheap special effects and banal approach to both the character of Superman and the threat of nuclear annihilation in Superman IV: The Quest for Peace are of course very endearing, and the film undoubtedly deserves its place in the so-bad-it’s-good canon. But its true appeal lies
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Considering how topical this film was at the time of release and remains today — showing the bullying and silencing of a young woman working for a powerful film producer, clearly based on Harvey Weinstein — I am sure there have been tons of writing on the dynamics it explores, namely the
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At first glance, Eliza Hittman’s Never Rarely Sometimes Always appears to adopt wholesale a visual style that seeks to make the viewer experience, on a visceral level, the habitat of the characters, the mood and the texture of their lives. Shot on 16mm, the film favours close-ups on faces
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From the very first shots of Yi Yi, Edward Yang’s control of his images is evident. He does not cut away from long takes when one would expect him to, nor does he follow up a long shot with the kind of close-up most filmmakers would use to punctuate