As in a long suite, the cinematographic story of a country, Italy, in its current physiognomy, in a film made only of images and music. A home atlas of wonders that are sometimes misunderstood and of places known, loved and often lost. And of people cultured in their living in a highly stratified territory, between the still usable grandeur of the past and the apparent stasis of the present. A country marked by strong inequalities and nevertheless in continuous transformation in the difficult race towards sustainable development, problematically suspended between the old and the new and the increasingly difficult search for a balance to safeguard its éthos.
Director and writer, Miles Marti, brilliantly created a film that captures the story of a kid that learns a new reality all within the walls of her classroom. Tears Of Knowing lightly steps into the devastation of loss through a childhood lens, and presents a perspective that is not often acknowledged. Though grief and loss are important aspects, the film also showcases excellent portrayals of trust, innocence, and naivety.
Unfortunately, People We Meet on Vacation didn’t hold up quite as well as I’d hoped.
It surely isn't for everybody and could certainly offend some folks, but Troll Hunter takes a different approach to representing religion in a film.
“I’m always interested in exploring female fantasy, and the sexy witch is a loaded archetype that is simultaneously about men’s fears and fantasies about women, and women’s feelings of empowerment and agency. So whereas we are used to seeing the sexy witch or the femme fatale from the outside, I wanted to explore her from the inside.” - Anna Biller, on why she made The Love Witch
The film is a simple love story reminiscent of stories like The Notebook released in 2004. Sylvie and Robert are rarely actually together in the film, however; time and circumstance keep them away from each other, and the audience waits with bated breath to see them find one another over and over.
Netflix’s new rom-com, Voicemails for Isabelle (dir. Leah McKendrick), isn’t just heartwarming, funny, and an achievement in female directing - it’s also an instant classic. Following 20-something aspiring baker Jill (Zoey Deutch), Voicemails for Isabelle tells a story of grief, self-discovery, and fateful connections. Ever since her beloved sister Izzy’s (Ciara Bravo) death, Jill has been leaving her hilarious, extremely TMI voicemails about her chaotic love life and miserable day job as a prep cook. Little does she know that a handsome and unsatisfied real estate agent in her hometown has inherited the number and practically fallen in love with her by listening to her stories.
