Sala’s latest film “Slip of the Line” (2018) oscillates between the magic of work and the work of magic. Located in a glass manufacture, the film follows the transition of the amorphous matter from its molten state to a wine glass. The meticulous choreography of their interrelated actions grants the craftsmen’s labour an hypnotic allure. As the making of the glasses takes us through the different stages of their fabrication, the customary production cycle is hijacked by an unusual slip: the intervention of a magician who bends the wine glasses, bestowing upon the assembly line the traits of an enchanted realm.
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.
‘Killers of the Flower Moon’ is preoccupied with plot and not on the greater struggle of the Osage.
The history of Hollywood is as ugly as it is beautiful. Most notably absent from Hollywood history are Black-produced films. “They’ve Gotta Have Us” explores the rise of Black cinema.
‘Candyman’ (2021) builds upon the original 1992 film by presenting the myth of Candyman not only as an example of black pain, but as an opportunity for black vengeance.
"Beef" is a new dark comedy with a near entire Asian-American cast
