Isabelle Huppert
While The Crime is Mine doesn’t reach the lofty heights of the classic comedies that influenced it, it’s all too easy to enjoy such a screwball vision.
At times a deeply moving portrait of our treatment of animals, while other times a sense of existential realism, EO proves itself to be full of heart.
The latest film from writer-director Anne Fontaine is a new take on an old legend: that of Snow White and the Seven Dwarfs.
Based on Hannelore Cayre’s novel, Jean-Paul Salomé’s La Daronne – Mama Weed in the U.S. – is a dark comedy about a translator-turned-queenpin.
Ira Sachs’ Frankie has Isabelle Huppert in the titular role confronting her own mortality through a cancer diagnosis and on a ticking clock.
Greta is an acquired taste that will frustrate some viewers while others will revel in its campy absurdities.
In Greta, a young woman (Chloë Grace Moretz) befriends a lonely widow (Isabelle Huppert).
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.
Happy End is a disappointing effort by Michael Haneke, displaying almost none of his visual appeal, prominent themes, or strong performances.
In this version of Marivaux’s play False Confessions there are laughs to be had, but its adaptation to modern day makes it a confusing watch.
It’s time we opened up auteur theory to include more than the director; actors leave unique marks on their films, and deserve our critical attention.
Elle faithfully transcribes the original book “Oh…”, presenting masochistic and sadistic elements as comedy in the darkest form.
Editor’s note: Incidentally, we were working on this article a few weeks before Cimino’s death. Sadly, Michael Cimino passed away on July 2 2016, and with this article, we are paying homage to one of the director’s films that had such a significant impact on the entire Hollywood system.
Is it possible for a contemporary America drama dealing with grief not be referred to using the “post-9/11” prefix? Louder Than Bombs charts the emotional complexities of a middle-class New York family as a retrospective article about their deceased war photographer mother/wife is published in the New York Times, resurfacing their most base fragilities. There is nothing in the film that remotely refers back to that harrowing event in American history, yet for many audiences it’s embedded in the subtext – New Yorkers who are confused how to react after this unexpected turbulent event in their lives.
