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Dear White People

You could make a (film geek) party game out of guessing director Justin Simien's influences, but his vision seems to spring directly from what's up…

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Private Violence

A look at the complexity of domestic violence, especially when it comes to the difficulty of prosecuting abusers in a court of law, "Private Violence"…

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Ballad of Narayama

"The Ballad of Narayama" is a Japanese film of great beauty and elegant artifice, telling a story of startling cruelty. What a space it opens…

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Monsieur Hire

Patrice Leconte's "Monsieur Hire" is a tragedy about loneliness and erotomania, told about two solitary people who have nothing else in common. It involves a…

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* This filmography is not intended to be a comprehensive list of this artist’s work. Instead it reflects the films this person has been involved with that have been reviewed on this site.

A family secret

May Contain Spoilers

Looking back at when I watched "Life, Above All" (2010) last December, I discern that I'm a more jaded person than I think. At one point in the story, I wondered if its heroine really had to do what she was determined to do. I understood her motive, but I thought it might be better for her and her family to leave the problem alone because there was really nothing she could do for changing the circumstance. However, it was what should have been done, her heart knew that, and I was eventually moved by her determination while recognizing that she was right after all.

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The 10 best foreign films of 2010

"35 Shots of Rum". Two couples live across the hall in the same Paris apartment building. Neither couple is "together." Gabrielle and Noe have the vibes of roommates, but the way Lionel and Josephine love one another, it's a small shock when she calls him "papa." Lionel (Alex Descas) is a train engineer. Jo (Mati Diop) works in a music store. Gabrielle (Nicole Dogue) drives her own taxi. Noe (Gregoire Colin) claims only his much-loved cat is preventing him from moving to Brazil.

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Cannes #6: Of emotion and its absence

Of the 12 films I've seen at Cannes, the most warmly cheered has been the South African "Life, Above All." That's possibly more significant than in other years.

The audiences at Cannes this year have been oddly restrained, and there's less clapping at the names of directors; even Jean-Luc Godard received only perfunctory applause. Is this becoming less a directors' festival and more a trade fair?

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