Artist and film-obsessed know it all.
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There are so many beautiful, transcendent things this miniseries does but the best of them may be giving the gift of love to Cristina La Veneno, the love she so badly wanted and deserved when she was alive.
Veneno defies comparison but if we must, it deftly smokes Tr*nsparent and Pose and makes their broken ground seem quaint.
Even when it belabours its already heightened melodrama, or slows in episode six, this is still essential viewing.
Brash, graphic, propulsive, melancholic, unapologetic, and essentially everything I want from a queer/trans story.
Run, don't walk.
Sean Durkin's long-awaited follow-up to his incredible debut film Martha Marcy May Marlene didn't just arrive in its own time, but on arrival moves with the patience borne of some kind of interior malevolence.
The brief moments where the camera is handheld at close quarters are broken up by eerie static cam shots and slow zooms that feel almost aggressively voyueristic if not just plain hostile, as if goading the characters toward some unknown form of disaster that already feels…
While it lacks the nuance and thorough immersion of HBO's nine-episode documentary The Vow, Starz's shorter take that focuses on the experiences of NXIVM survivor India Oxenburg lends a worthwhile perspective and further clarification to what went down on the whole.
I wouldn't recommend it necessarily if you haven't seen The Vow, and unfortunately India's own to-camera statements feel over-rehearsed, but I think it definitely drives home just what a piece of shit Keith Reneire is and the scale of psychological damage cults inflict.
Seen at London Film Festival.
I never thought I'd be applauding like my life depended on it as a Lana del Rey song played, but it happened tonight.
Xavier Dolan's followup to his already formidable Laurence Anyways is a force to be reckoned with, more like a thumping heart than a movie.
Dolan has often been criticized for being style over substance but despite having only recently come into his own as a director after a series of good but…
"Did you ever love me?"
Part-way through writer-director Jess Bond's (aka Jess Manafort) Romantic Comedy Thriller, Doug (Nat Wolff) begins to remove the boards from the windows in the room where he is keeping Rosy (Stacy Martin), an actress he has kidnapped.
She watches her captor with a look on her face as though this is the nicest thing anyone has ever done for her and she couldn't be more touched.
It's a look that is less relief or hope…