Buried somewhere in this smart but somewhat disorganized and repetitious movie about The Satanic Temple is a trickier, potentially deeper and more all-encompassing work.
* 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.
Reviews from the New York Film Festival of the latest by Alfonso Cuaron, Alex Ross Perry, the Coen brothers and Julian Schnabel.
An essay about "Moonrise Kingdom" and childhood from the May 2017 edition of online magazine, Bright Wall/Dark Room.
Jan P. Matuszyński’s debut feature, which can be seen this week as a part of the New Directors/New Films festival, is the finest movie to come from Poland in the last 25 years.
An interview with author Pascal Mérigeau, whose latest work celebrates the life of filmmaker Jean Renoir.
On the occasion of Isabelle Huppert's new film, "Elle," Dan Callahan looks back the most memorable roles of the enigmatic actress.
An interview with Ira Sachs, director of "Love Is Strange."
A ranking of the ten best winners of the Palme d'Or before 2014 adds a new film to the exclusive club.
A quiet story of incestuous desire told with deadpan precision and a fair share of subliminal humor, "The Unspeakable Act" marks its writer-director's long-awaited cinematic breakthrough. Even though New York-based Dan Sallitt (born 1955) has been making movies from the mid-1980s on (he had three under his belt before this one), his media presence has been unduly under-the-radar throughout that period. With the new movie scooping The Independent Visions Prize at the 2012 Sarasota Film Festival, and then being picked up by Edinburgh, Karlovy Vary and - most notably - BAMcinemaFest (where it plays 24 June at 9:30 PM), it's high time to put Sallitt on the map of highly original independent American filmmakers, which is where he'd belonged right from the start.
From Jesse Richards, Granby, MA:
The days dwindle down to a precious few. At 6 p.m.on Friday, Cannes is oddly silent. The tumult on the streets a week ago today is forgotten. There are empty seats at some screenings. The locals of Cannes know this is the time to stand in the ticket lines. The daily editions of Varsity and Hollywood Reporter ceased Thursday. Friends are in Paris, or London, or home. Some few diehards stay for the award ceremony Sunday night.
The Festival International du Film, held annually in Cannes, France, has become the world's most prestigious film festival—the spot on the beach where the newest films from the world's top directors compete for both publicity and awards.