Venice Film Festival 2019
Although beautifully crafted, Théo Court‘s Blanco en Blanco is let down by the lack of restraint and direction.
Guest of Honour ultimately feels like a missed opportunity for both an intriguing character study on grief, and a compelling drama.
Despite excellent performances from Binoche and Deneuve, Koreeda’s The Truth is rather more conventionally dull.
Katrin Gebbe’s Pelikanblut is a balance of dramatically written material and an underbelly of deliciously spooky horror.
The King may not be Michôd’s best by any means, but with strong performances and cinematography, it’s a strong effort nonetheless.
Om det oändliga (About Endlessness) can be painfully slow at times, but it is superbly captured with a truly delightful aesthetic.
Adults In The Room is a hard sell, failing to deliver an intriguing narrative despite being about the political cunning behind the Greek financial bailout.
Equalled with terrific editing and a beautiful turn of cinematography, Revenir is a terrific boiling pot of emotional intensity.
An alluring fixture with a hefty and enlightening impactful weight, The Laundromat drowns due to an overindulgence in material and excessive narrative.
Dark and gritty, Joker is a pressure cooker of emotional abuse that is just ticking, ready to blow at every minute.
While Ad Astra is no doubt visually stimulating, ultimately Gray’s film is a meandering lifeless existential entity that overly emphasises on simplicity.
Marriage Story is a heavy-hitting and brutal feature that leaves no stone unturned and no fallen tear allowed to escape from the camera.