Sebastian Lelio
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Berlin Critic’s Notebook 2: Bright Nights, A Fantastic Woman
Thomas Arslan’s flaccid anti-Western Gold, which screened here in Competition four years ago, spoiled what could have been a brilliant hat-trick for the Berlin School alumnus following Vacation and In the Shadows. With Bright Nights he’s back in great form, once again showcasing his flair for precise, intimately scaled dramas. Like his compatriot Maren Ade’s Toni Erdmann, a quick synopsis of Arslan’s film makes it sound like standard feel-good Hollywood fare: after his estranged father dies, the protagonist Michael decides to try and reconnect with his own teenage son Luis, whom he barely knows, and takes him on a road trip, embarking on a journey towards […]
by Giovanni Marchini Camia on Feb 16, 2017 -
Good To Go: New York Film Festival II
Eclecticism governs the second half of the 51st NYFF just as it did the first. According to the Times, several common threads run through the week two batch, but these are little more than on-deadline segues. We could perhaps agree that all the films run at 24 frames per second. Below are recommendations I hope will sate the discerning ticket buyer. These are accomplished movies by directors who are not very well known in this country. Other films will sell out based on name recognition no matter the critical response, so, whether good, bad, or in-between, they will not be […]
by Howard Feinstein on Oct 2, 2013
