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Sundance 2022 Critic’s Notebook: Fire of Love, Every Day in Kaimukī and Shorts

Fire of Love

Derrida’s “archival turn” of the ’90s has officially taken over mainstream documentary filmmaking—a trend that has been covered in general interest thinkpieces in Indiewire as well as in academic scholarship, and one that’s proven more lucrative than I could have…  Read more

By Jan 24, 2022

Sundance 2022 Critic’s Notebook: Dos Estaciones, Meet Me in the Bathroom

Still from Dos EstacionesDos Estaciones (Photo: Gerardo Guerra)

In the opening sequence of Juan Pablo González’s second feature, Dos Estaciones, DP Gerardo Guerra’s Steadicam roves a tequila farm’s fields as workers chop down agave plants; when they pause for lunch, the camera pans equally slowly, seemingly without planning, to bring…  Read more

By Jan 24, 2022

“The Universality of the Cartoon Form” | Jono McLeod, My Old School

Alan Cumming in My Old School by Jono McLeodAlan Cumming in My Old School by Jono McLeod, an official selection of the 2022 Sundance Film Festival. (photo: Tommy Ga-Ken Wan)

The last two years have prompted much contemplation and reconsideration of the reasons why we make our films as well as the ways in which we make them. What aspect of your filmmaking—whether in your creative process, the way you…  Read more

By Jan 23, 2022

Sundance 2022 Critic’s Notebook: Speak No Evil, Resurrection, Happening

Morten Burian, Liva Forsberg and Sidsel Siem Koch in Speak No EvilMorten Burian, Liva Forsberg and Sidsel Siem Koch in Speak No Evil (photo by Erik Molberg)

Shudder announced the acquisition of Christian Tafdrup’s Speak No Evil just before the film’s Sundance premiere. It’s probably one of this year’s breakout titles—at any rate, enough people in my Twitter feed recommended it to redirect me from previously planned viewing and Tafdrup’s…  Read more

By Jan 23, 2022


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