Widows
McQueen’s masterful film is the kind that works on multiple levels simultaneously—as pure pulp entertainment but also as a commentary on how often it feels…
Carole Bouquet
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Unforgiveable (2012)
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Judith
Roger Ebert -
Wasabi (2002)
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Sofia
Roger Ebert -
Lucie Aubrac (1999)
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Lucie
Roger Ebert -
Grosse Fatigue (1995)
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Carole Bouquet
Roger Ebert -
Too Beautiful for You (1990)
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Florence
Roger Ebert
* 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.
Much More than "Star Wars": The Cinema of '77 Strikes Back at Film Society of Lincoln Center
An in-depth look at an ambitious retrospective at NYC's Film Society of Lincoln Center that celebrates one of cinema's greatest years.
Cannes 2014, Day One: "Grace of Monaco," "Timbuktu"
"Rosemary’s Baby" Never Justifies Its Existence, "Penny Dreadful" Delivers
NBC’s remake of "Rosemary’s Baby" and Showtime’s new weekly adventure series "Penny Dreadful." One is awful and it’s not the one with a synonym for the word in its title.
Certified Copy: How can you be in two spaces at once...?
"It's enigmatic and obvious, exasperating and beguiling, heavy-handed and understated, witty and poignant, all at once." -- Alex Ramon, Boycotting Trends
What I like most about Abbas Kiarostami's "Certified Copy" is its slipperiness. The Tuscan textures are ravishing (it takes place over the course of an afternoon in and around the village of Lucignano -- or does it?), Juliette Binoche and William Shimell are easy on they eyes and ears (good thing, too, since the movie is practically one long conversation -- or is it?), but for me the most enjoyable thing about it is the way the story and characters keep subtly (and not-so-subtly) shifting, refusing to be pinned down. I was fearing one of those overly literalized Kiarostami "button" endings, but this time (as Michael Sicinski observes in his impressive, ambitious essay at MUBI), the thesis statement is placed at the front of the film and it gets slipperier from there:
"Certified Copy" operates almost in reverse of most thematically inclined works of art, which plunge us into a falsely desultory universe and gradually reveal their master interpretive passkey. Kiarostami's film presents a concept, fully formed and cogent, and allows the rest of the film to set to work on that concept, breaking it into Heisenbergian particles, then bringing it back into solid shape, and on and on.
