The Charm of “non-biopic” Biopics and the Consequences of Ruthless Ambition in “Marty Supreme”
“Timothée Chalamet is made for this role… He is in full control of the magnetism he utilises to disarm Marty’s opponents no matter if it’s a potential sponsor or a short-lived fling, but with his body language he occasionally smoothly slips into a “leakage” of despair and anxiety. Enthralling, the audience almost enters a toxic relationship with Marty through Chalamet’s nuanced portrayal, luring us to look past his behavior and root for his atonement.”
Iveta covers Josh Safdie’s “Marty Supreme”.
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Family as The Muse in Sentimental Value
Amy delves into Joachim Trier’s Sentimental Value, exploring themes of family relationships and muses.
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Lighting the Divine – Wake Up Dead Man Review
anfa is back with a piece on Rian Johnson’s “Wake Up Dead Man” which is part of the Knives Out series. Adelaide speaks on lighting as a storytelling tool and Johnson’s karmic narratives.
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In Retrospect: Edinburgh Film Festival
Iveta looks back on the films and Q+A’s that she attended at the 78th Edinburgh International Film Festival.
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The Year with the Peerless Movie: On “Sorry, Baby” and Time
Cassia delves in to the directorial debut of Eva Victor with “Sorry, Baby”.
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“Grief is rotting your teeth”: A Review of The Shrouds (2024)
“Needless to say, this film is an extremely personal work from Cronenberg, but that does not necessarily mean that it’s bereft of the techno-psychological and body-horror elements traditionally associated with his name as he continues his surreal filmic study on humans and their relationship with ever-advancing technologies.”
Fionn discusses David Cronenberg’s 2024 film, “The Shrouds”.
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When a Soundtrack Becomes a Crutch- Musical Choices in “The Summer I Turned Pretty”
“One thing that I’ve noticed is that the music often kicks in at the very beginning of a new scene. This means that before characters have had a chance to speak to each other, the audience is primed to experience the desired emotion – before the script has done the work to merit it.”
Mary Catherine explores the use of music in “The Summer I Turned Pretty”.
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Legacy, Industry, and “28 Years Later” – Danny Boyle at the James Joyce award Q+A
According to a French journalist Danny Boyle himself encountered on a press tour, he is a director who makes the same films over and over again, just looking slightly different – always following a young man (at this point apparently she rolled her eyes) always overcoming impossible obstacles. And Danny Boyle apparently couldn’t agree more, […]
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“Weapon of the Weak”, Interview with Cheryl Hess – Galway Film Fleadh
This is a quick look back at the films we got to see at the Galway Film Fleadh this year and an interview with co-director of Marriage Cops, Cheryl Hess.
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I Don’t Want Comedians to Talk to me – Comedy, Storytelling, and Audience Work
“I think seeing… carefully constructed routines… really emphasised for me the things that felt off about the audience-based interactions of other comedians… I find many of them shallow and lacking meaning. They are the type of basic observations and jokes you could make with a group of friends. That’s not to say that they aren’t funny. It just lacks that same intricacy.”
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