Jonathan Perel
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Berlinale 2022 Critic’s Notebook: Queens of the Qing Dynasty, Dry Ground Burning, Rewind and Play, Camouflage, Happer’s Comet, The Middle Ages
My favorite film of the Berlinale was Queens of the Qing Dynasty, Ashley McKenzie’s ambitious and otherworldly fantasia about a “queer friendship romance” between a suicidal young woman and a Chinese immigrant she meets while hospitalized. Inspired by two teenagers she befriended during the casting of her previous feature, Werewolf (2016), McKenzie first sketched out the central character, Star (Sarah Walker), whose everyday life is mediated by endless negotiations with social workers, doctors, guardians, landlords and the various bureaucracies that employ them. Star is aging out of child protective services and has been deemed unfit to live independently, so as […]
by Darren Hughes on Mar 22, 2022 -
Medium-Length Highs Over Fragmented Landscapes: FIDMarseille
Diversity’s the aim of every city’s game, but Marseilles really does have everything. Greek in origin, Roman by design, Arabic in flavor, French in architecture and Mediterranean in climate: this encouragingly rough-edged melting pot is an appropriate setting for a film festival like FIDMarseille. Eschewing the standard but arbitrary practice of dividing films based upon format or duration, FID throws all of its selections together: fictional shorts, feature-length documentaries, mid-length essay-films and just about every hybridized bastard form in between. At a time when festivals are increasingly wary of upsetting sponsors and other funding bodies, appealing where they can to […]
by Michael Pattison on Jul 7, 2015
