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I wrote something ~personal~ about my favorite film for my favorite publication.
"NASHVILLE immerses, overwhelms, and humbles me. It is a paragon of an ideal cinema." Read @Eng_Matthew's expansive personal essay on Altman's grandest film for our ongoing Reverse Shot Does It Again symposium: reverseshot.org/symposiums/ent…
I wrote about Julia Roberts, Gena Rowlands, and Luca Guadagnino's After the Hunt for @reverse_shot: reverseshot.org/reviews/entry/…
"LAST SUMMER is not so much a provocation that those who know only of the logline and Breillat’s career might be led to believe. This is a master class in emotional precision." @Eng_Matthew on Catherine Breillat's LAST SUMMER. reverseshot.org/reviews/entry/…
"Older actors could have made these characters and their bond more emotionally resonant and credibly worn." @Eng_Matthew on Garth Davis's sad midwestern sci-fi FOE: #NYFF61 reverseshot.org/reviews/entry/…
Needed Michael's beautiful words on his hero and ours: the irreplaceable and eternally inspiring Terence Davies ❤️
When @SightSoundmag asked me last week to pen an obituary for Terence Davies, I was decimated. I also knew nothing I wrote in the space allotted could do justice to the films or to the human being. It was an honor to have lived with his cinema. bfi.org.uk/news/terence-d…
A highlight of my day/year/life: walking by British Museum and realizing man with shopping cart crossing street is Mike Leigh. Spoke to us for five mins. He’s in the middle of editing his next film but doesn’t know what to call it. Almost ascended when he said “Katrin Cartlidge.”
I wrote about Ira Sachs's Passages, my favorite film of 2023 so far, for @reverse_shot: reverseshot.org/reviews/entry/…
PAST LIVES is "about two people contemplating the possibilities of what could have been and what still might be, but it is also about the electric charge and covert forces that draw two bodies and souls together." Review by @Eng_Matthew: reverseshot.org/reviews/entry/…
"The raw material of Reichardt’s film is the daily, soul-sucking minutiae that comes with choosing and devoting oneself to the artist’s life in a country that cannot nor will not sustain such endeavors." @Eng_Matthew on SHOWING UP, opening today! reverseshot.org/reviews/entry/…
The Dardennes return with a tale of two Cameroonian teenage refugees posing as siblings to remain in Belgium in the persuasively angry TORI AND LOKITA. Opens today. Review by @Eng_Matthew reverseshot.org/reviews/entry/…
For @reverse_shot, I reviewed Babak Jalali's hypnotic and beautifully crafted Fremont, which opened @MovingImageNYC's First Look Festival and hopefully finds distribution real soon: reverseshot.org/features/3045/…
Thank you to @fauxbeatpoet for inviting me to write about a forever favorite, Claire Denis’ 35 Shots of Rum, for @Downtime: downtime.jambys.com/posts/home-mov…
downtime.jambys.com
Home Movie: 35 Shots of Rum Remains One of Claire Denis’ Most Personal Works
The story of a codependent father-and-daughter relationship pays tribute to the work of Yasujirō Ozu’ and Denis' own mother.
For @ScreenSlate, I wrote about Mitchell Leisen's beautiful Remember the Night, which contains one of Barbara Stanwyck's greatest performances and is playing this month at @FilmForumNYC: screenslate.com/articles/remem…
screenslate.com
Remember the Night
When Barbara Stanwyck lowers that gruff, Flatbush-flecked voice to the most hushed and haunted of whispers, the listener might feel as though they are curling up close to a fire, basking in the heat...
For @reverse_shot's glorious Two Cents, I wrote about Judy Davis' phenomenal performance in Nitram, the inanity of Lydia/Linda Tár's Staten Island origins, and the Best Actress of 2022: Guslagie Malanda in Saint Omer. reverseshot.org/features/3030/…
Presenting Reverse Shot's #1 of 2022: Alice Diop's extraordinary SAINT OMER. "Neither morality tale nor true crime offering . . . its form is beautiful, disturbing, mysterious." @brandnewfarihah reverseshot.org/features/3028/…
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