Month: March 2019

egyptian-eclipse-2002-aegyptische-finsternis-wuest-review

EGYPTIAN ECLIPSE

According to the author’s words, it is a sort of Odyssey with no return, Egyptian Eclipse. A journey, above all an inner one, that slowly leads to the abandonment of everything related to the past – and, with it, also of the attachment to any material good – and that culminates in the middle of a symbolic desert.

to-the-night-2018-brunner-review

TO THE NIGHT

The particular contemplative mood of To the Night is quite appealing. Despite his young age and his limited experience behind the camera, Peter Brunner has the great ability to stage, in a very personal and sincere way, a deep inner torment that is extremely difficult to analyse.

schauspielerin-2018-hermeling-review

SCHAUSPIELERIN

The no longer young (but incredibly fascinating in its melancholy) face of Brigitte Karner in Schauspielerin is lovingly filmed by a camera that immediately becomes an intimate observer of the protagonist’s soul, giving her a series of close-ups, details and, last but not least, shots showing her reflected on a window pane, made even more precious by a sophisticated black and white.

the-dark-2018-lange-hufnagl-review

THE DARK

In The Dark by Justin P. Lange and Klemens Hufnagl, the exposed theory becomes a universal message in an interesting and successful genre film that includes other influences from different forms of the seventh art.

the-ancestress-1919-die-ahnfrau-fleck-review

THE ANCESTRESS

The Ancestress, by Louise Kolm-Fleck and Jakob Fleck, is a very imperfect film, but nevertheless made with such grace and such a clear gaze that it rightfully ranks as a real gem. An important heritage of Austrian and world filmography.

models-1998-seidl-review

MODELS

It is impossible to remain indifferent after watching Models (as after watching every other work by Ulrich Seidl). And this is exactly what the director wants: to hit, to shock, to enrapture the audience without fear of hurting them.

chaos-2018-fattahi-review

CHAOS

In Chaos, director Sara Fattahi, with a mise-en-scène that reveals her limited experience behind the camera, has more than once fallen into banal mannerisms, especially when she wanted to give the work a strongly (and not always justifiably) contemplative tone.