2020s
In his first report from the 2020 San Diego Asian Film Festival, Soham Gadre reports on the films he had the chance to see!
With two perfectly cast roles in Colin Firth and Stanley Tucci, Supernova lovingly ponders on the preciousness of memory and time.
While it’s visually handsome, with performances from the two leads that are equally staggering, the show fails to accomplish what it wants to do.
Kindred features impressive performances from all actors, but the script lacks action.
With both leads shining bright, Cicada is altered, and elevated, by an undercurrent of trauma that haunts its central pair.
Rebecca is not a bad or dull film, but it squanders the immense potential for something vital and thrilling in du Maurier’s tale.
Mainstream hardly qualifies as a satisfactory, much less intelligent response to the media-saturated simulacra it lounges very comfortably within.
Vinterberg’s film goes to higher highs and lower lows than expected, proving both heart-achingly sad and outrageously joyous.
Any way you choose to interpret it, Nomadland flourishes under the direction of Zhao, and bolstered by a brilliant performance from McDormand.
If you’re looking for a Wikipedia summary of the government’s incompetence at handling this pandemic, it is a straightforward and relentless assault.
While many would probably have appreciated a more robust exploration of his musical career, there’s also a deeply human message at the core.
The originality of I Blame Society is an exquisite example of how quickly the thin line between reality and art can blur.
City So Real, Steve James’ five-part documentary miniseries, is a stunning, panoramic view of an America in transition.
What Do You Have to Loose takes a deep look into how the results of the 2016 election came to be from the view point of racial discrimination.
Neither horrific nor revelatory, The Last Exorcist brings little new to the well-trod table despite its best of intentions.