drama
In this Tribeca Film Festival Round-up, Stephanie Archer looks at the films she saw that found that dominated their central focus and inspiration in oppression, fear and freedom.
With undefined characters and a hesitation to commit to the violent realism of the story, Spanish historical epic Gold (Oro) proves to be something of a tedious slog.
The Party’s Just Beginning isn’t always fun, but it’s definitely a powerful vehicle for the very talented Karen Gillan.
It takes a lot to stand out among the numerous films about the AIDS crisis, but Campillo has managed to craft one that’s certain to stand the test of time. Distinctive characters and an astute understanding of what made ACT UP so memorable shines through in 120 BPM.
Funny Cow is one of the most harmful depictions of the British working class in popular culture since Sacha Baron Cohen’s Grimsby, in addition to being one of the most mindbogglingly racist and homophobic films in recent memory.
Imitation Girl is an interesting character study focusing on women asking the questions: Who am I? and What do I have to show for my life? Lauren Ashley Carter gives strong performances as both Julianna and her imitation in this unique and captivating film about identity.
Samuel Maoz’s Foxtrot toys with our emotions, but that doesn’t mean it lacks any of its own. This is an energetic and structurally audacious jukebox of sensations, prioritising impulse over precision and thought over action.
Casting, director Nicholas Wackerbarth’s meta tribute to Fassbinder’s 70’s masterpiece The Bitter Tears of Petra Van Kant, is a fantastically cringeworthy comedy in the same vein as Toni Erdmann.
With energetic sports play, a respect for its story and characters, and a slightly heavier final takeaway, The Miracle Season rises above the pitfalls that many feel-good biopics often fall into.
Watching Claire’s Camera feels like watching a film being made right in front of you with director Hong laying bare his cinematic style in that he doesn’t know where he’s taking us, but he’s just as interested to find out.
Western is Valeska Grisebach’s homage to the classic genre, focusing on a group of German construction workers in Bulgaria while playing with themes of overt masculinity and identity.
With an outstanding return performance from Michelle Pfeiffer, Where is Kyra? may have been sitting on the shelf for a couple of years, but the passage of time hasn’t diluted the sense of thematic urgency.
Though grounded by a strong presence in the young Madison Wolfe, I Kill Giants is often too dreary to be truly engaging, and too under-realized to be an immersive escape into a fantastical world.
Les Gardiennes is another gracefully-directed film by Beauvois, and it gifts the audience with another perfect arrangement from Legrand, three gripping performances from Smet, Bay, and Bry, and plenty of eye-catching imagery to make up for its lagging pace.
Tully is a return to form for both director Jason Reitman and screenwriter Diablo Cody, with this “hipster Mary Poppins” tale feeling like a thematic sequel to their beloved Juno.