İnce Cumali 

An attempt to capture nostalgia that unfortunately just doesn’t work

Mona Fastvold’s nineteenth century lesbian romance is emotionally charged, restrained, and poetic without feeling forced.

Not every silence is empty. Some are filled with things too heavy for words.

With mismatched eyes, a willingness to experiment with hair color and style, and a rail thin frame, Bowie always drew attention. But he shunned gendered attractiveness, creating his own space somewhere in between. This hallucinatory and often nonlinear 2022 documentary is a perfect salute to David Bowie’s life and career. Rather than interviewing those that knew Bowie, the standard convention for biographical portraits, director Brett Morgen mostly lets the artist’s images, performances, videos, and words speak to capture the essence of the artist. Bowie was more than just a pop star. He painted, sculpted, acted in films, and was a thoughtful and articulate person who gave sincere answers to even the most shallow interview questions.

This is not a film, it’s a drop tower.  A drop tower that you don’t get off of for the vast majority of its 106-minute runtime. 

A man invents the internet with the help of an otherworldly force. But he soon learns that not all is what it seems. A delightful sequence of images for a delightful fictional story about what lies behind.