Mia Wasikowska
Club Zero is often disturbing and always engaging, but it’s certainly not for everyone.
Film Inquiry spoke with stars Eric Bana and Mia Wasikowska for their newest film Blueback!
Mia Hansen-Løve’s Bergman Island features emotionally intelligent filmmaking and a lovely central performance from Vicky Krieps.
Just like the movie-within-a-movie style Hansen-Løve uses to tell the story, her latest film is a layered, intelligent work full of reflection about art, life, and relationships.
Two American filmmakers retreat to Fårö island for the summer and hope to find inspiration where Bergman shot his most celebrated films.
In Judy & Punch, Foulkes brings dimension and nuance to rather ancient customs, and places backwards-thinking and primitive male behaviour under the microscope of social justice.
Puppeteers Judy and Punch are trying to resurrect their marionette show in an an anarchic town on the brink of mob rule.
Mirrah Foulkes’ folk tale of misogyny in the Middle Ages, Judy & Punch, is sometimes mischievous and sometimes utterly volatile, but never formulaic.
Piercing is an absolutely weird, kinky, stylish film that might not be to everyone’s taste; it is guaranteed to thrill some filmgoers and offend some others.
With Damsel, the Zellner brothers take a whimsy and a flippant attitude towards the grit of the modern Western. Their approach is admirable and considerably original, but ultimately a failure.
2016 has become the year where audiences are openly questioning the onslaught of mainstream movies coming out, especially when it comes to unnecessary sequels. Some of the films this year that have made us think ‘did this really need a sequel?’ include Now You See Me 2, The Hunstman, My Big Fat Greek Wedding 2, Independence Day 2, Zoolander 2 and even an Ice Age film set in space.
While most genre filmmakers have a hard time choosing between style and substance, Guillermo Del Toro has become the best filmmaker in the fantasy genre by giving equal weight to the visual design and emotional weight of the narrative; both complement each other in the best of his work. Even in a simple blockbuster movie like Pacific Rim, the substance is always there to be seen due to the clear love for the old-school Kaiju movies that inspired it – to date it is the only major studio tentpole blockbuster that feels like the personal passion project it was devised as. Crimson Peak is Del Toro’s return to gothic fantasy, his first film in the English language that could be comparable to his two Spanish Civil War fairy tales, The Devil’s Backbone and Pan’s Labyrinth.
Maps To The Stars is about the aspects of Hollywood that, as a film fan, I‘d rather not think about. Written by the acerbic Bruce Wagner, it is about the cynicism of the industry, about the actors who are motivated by vanity and the money-minded executives who exploit them. These people’s heads have been long removed from their shoulders, their molly-coddled lives are run by other people as they incessantly try and top up their serotonin through drink, drugs, sex and bastardised spiritualism with increasingly less success.
