Zola, to an extent, is experimental with its narrative. While it flows coherently, the film is very much still in tune with its source material – a series of tweets explaining a story that’s “strange yet true” – and presents itself as someone spinning you a wild yarn (intercut with tangents and outbursts).
In Minari, a Korean family travels from California to build a new homestead in Arkansas; in hopes that they’ll be able to create a farm and make a decent living selling their culture’s food to local markets. This premise, however, is merely a clothesline for writer/director Lee Isaac Chung to hang up different moments in this family’s life that will, eventually, piece together their memories and future.
A story of possible infidelity gets an anti-Hollywood spin in Sofia Coppola’s sophisticated dramedy On the Rocks.
After wowing audiences with his feature-length debut The Witch, writer/director Robert Eggers takes a big swing with The Lighthouse – a film with more specifications and fewer actors. His latest film connected with many (our own Shahbaz Khayambashi loved it at TIFF), but it didn’t work for me. I can appreciate the dedication of Robert Pattinson and Willem Dafoe (which translates into their memorable performances), but the actors are wasted on a movie that’s too muddled…
“This makes me want to puke. Sorry, this came into my head. Sorry.” These were the words spoken by Robert Eggers, before he made a point about the relationship between Andrej Tarkovsky and Fyodor Dostoevsky. The singular voice behind the instant classic The Witch and The Lighthouse provided evidence of two important parts of his personality: the first being his self-effacing tendencies despite how well-read he is—after all, any great artist is first a great student—and…
Midsommar, the sophomore feature from Ari Aster (Hereditary), is a head-trip on multiple levels and a full flex of what cinema is capable of.
When Robert Eggers appeared on the cinematic scene with The Witch at 2015’s Sundance Film Festival, he exposed untold new ways to tell horror stories. So, what can someone who has already reinvented a genre do to follow up such a work? Eggers decided to use a similar formula—mainly the research of authentic historical documents that went into the screenplay’s creation of horror—to tell a brand-new story. The results are great.
With The Witch, Robert Eggers showed the world that there were untold, new ways to tell horror stories. So, what can someone who has already reinvented a genre do as a follow up? Eggers decided to tell a new story based on the research of horrific authentic historical documents, and it works.
Family history is a dependable theme for filmmakers to explore. The Last Black Man in San Francisco, however, is more about what it means to preserve that lineage. In their breakout feature film debut, filmmaker Joe Talbot and actor Jimmie Fails unpack an observational story that’s related to that, based on elements of Fails’ real-life experiences.
By: Jolie Featherstone “I forgot I was making a horror movie.”