A silent fisherman in Texas, a blazing oil field in North Dakota, a mysterious community in Virginia, a women’s prison in Oregon, and a modernist home in California are the ostensible subjects of Austin Lynch and Matthew Booth’s new feature, GRAY HOUSE. But as meditations upon nature, isolation, decadence, and destitution, they are flawless conduits for seamless blends of documentary and narrative form, and stunning explorations of sound, image, and cinematic time. Mysterious and elusive, yet possessing an aesthetic and sensory unity (appearances by Denis Lavant, Aurore Clément, and Dianna Molzan mix with direct addresses from real-life laborers and inmates), GRAY HOUSE quietly recalibrates one’s sense of the world and our place within it.
The film didn’t have to be as long as it is. It just dragged on and on with scenes that had no substance. Every so often we get an action scene, and even those isn’t that fun.
For those that are unaware, the trailer for the new Civil Rights movie Till has been out and it's absolutely amazing for all to see.
Some people’s first introduction to Mira Nair might be as New York mayor Zohran Mamdani’s mom. But with her insightful direction of 1991’s Mississippi Masala, Nair shows how much she deserves to be known as an artist. Delivering a nuanced portrait of a romance between a Black man and an Indian woman living in the South, Nair explores the complications each character faces, giving both equal weight.
Apparently, nothing's ever enough. It has its flaws, but does that warrant the amount of criticism 'Barbie' is subject to?
This Netflix original series is for animal lovers and fans of light horror series.
How closely should film adaptations follow their source material? Let's take a deep dive into "Norma Rae", and find out.
