Ciro Guerra
After all the attention and commitment to the story, Waiting for the Barbarians leaves viewers without a solid and satisfying payoff.
Our first dispatch from LFF 2019 features reviews of And Then We Danced, System Crasher, Waiting for the Barbarians and more.
Ciro Guerra and Cristina Gallego’s Birds of Passage takes us to the Guajira Peninsula, a…
In the spring of 2016, Embrace of the Serpent, “[Y]oung people, when they see this…
In this full report from Toronto International Film Festival 2018, we are serving reviews of VOX LUX, IN FABRIC, and more!
In our first Melbourne International Film Festival report, we cover a collection of films, including Columbian crime dramas, a time-bending German war film, and an experimental exercise in young adult race relations.
Gus Edgar reports from Cannes Film Festival and shares some of his first two days in the French Riviera. He reviews Kenyan LGBT film Rafiki, Paul Dano’s directorial debut Wildlife, Colombian film Birds of Passage, and more.
The most damaging and offensive cliché in films that explore colonialism and its effects on indigenous nations is the notion of the noble savage, as well as the white savior. Approaching this film the inevitable trepidations set in, but were soon quelled, as Embrace of the Serpent proved to be simultaneously intelligent and willfully authentic. Director Ciro Guerra film adheres to territorial formalism without subverting the cultural atmosphere and originality.
When men find a world different from their own, their minds race with fanciful thoughts of what it might contain. The legends of the native people seem somehow plausible, and men risk everything to find the magical items squirrelled away in its depths. This narrative has played out innumerable times throughout history, often leading to devastation for the land that the men find so captivating.