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‘Ancestral Visions of the Future’ Review: Lemohang Mosese’s Heavy-Hearted but Fiercely Imaginative Homecoming
Guy Lodge Film Critic “This film is an ode to cinema, an eternal nod to my mother,” states Lemohang Mosese in voiceover, near the beginning of “Ancestral Visions of the Future,” his always arresting and sometimes abstruse third feature. He hardly needs to say so.
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‘Mr. Burton’ Review: Harry Lawtey Plays the Pride of Wales, and Toby Jones the Man Who Made Him, in a Gentle Showbiz Origin Story
Guy Lodge Film Critic Richard Burton never got around to writing an official set of memoirs before his untimely, alcohol-hastened death in 1984, though the star’s posthumously published diaries are among the great volumes of their kind in the showbiz library: sometimes brutally candid about himself, often savagely catty about others, and reflective of a wry, wicked mind behind the boorish antics that kept him in the headlines. There’s little of that wit or mischief to be found in Marc Evans‘ quiet, earnestly soft-hearted biopic “Mr.
Richard Burton Toby Jones Guy Lodge Marc Evans Harry Lawtey Britain state Virginia film students performer actor pride voice showbiz
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‘How Deep Is Your Love’ Review: A Mischievous Documentary Dive Into an Unfamiliar Ecosystem
Guy Lodge Film Critic Around ninety percent of life forms in the deep sea have yet to be named by humans, British director Eleanor Mortimer informs us in the course of her documentary “How Deep Is Your Love.” It’s a statistic somehow comforting in its vagueness — how, after all, can we put an exact figure on what is unknown to us — and humbling in its vastness, a reminder that we still don’t own huge stretches of the globe we profess to run. Across history, any number of explorers, scientists and storytellers have been fascinated by the essential, alien hostility of the ocean to our species, and its enduring status as a place we can only visit but never settle.
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‘Beginnings’ Review: Trine Dyrholm is Superb in an Emotionally Acute Portrait of a Divorce Disrupted
Guy Lodge Film Critic Two familiar premises for a personal crisis drama — the unraveling of a marriage, and recovery from a medical calamity — combine to raw and even surprising effect in Jeanette Nordahl‘s accomplished sophomore feature “Beginnings.” Arriving five years after her debut “Wildland,” a somber criminal drama quickened by an electric Sidse Babett Knudsen performance, the Danish writer-director’s follow-up once more uses confidently reserved craft and straightforward storytelling to place the spotlight on a gutsy big-name star turn, or two: this time from Trine Dyrholm and David Dencik, both without vanity and emotionally on edge as a long-married couple unsure how or when to end their relationship for good. It’s a fraught state of limbo even before sudden disaster strikes, as Dyrholm’s high-flying working mom suffers a debilitating stroke, and an already protracted divorce process is further placed on hold.
Jeanette Nordahl David Dencik Guy Lodge Trine Dyrholm Denmark Berlin film relationships performer stars Features UPS FIVE
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‘Timestamp’ Review: A Beautifully Observed Ukrainian Doc on the Perils and Pleasures of Schooltime in Wartime
Guy Lodge Film Critic It takes a village — or what remains of one — to raise a child in “Timestamp,” the latest in a shattering run of documentaries presenting the current reality of living in Ukraine as Russia continues to wage its unconscionable war on the territory. From the Oscar-winning “20 Days in Mariupol” to “Porcelain War” to Sergei Loznitsa’s recent “The Invasion,” such films are building toward an essential artistic and journalistic archive for an ongoing atrocity.
Guy Lodge Ukraine Russia county Day city Mariupol, county Day shooting film beautiful evacuation Schools War
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‘Dreams’ Review: Dag Johan Haugerud’s Intimacy-Themed Trilogy Concludes With Its Most Youthful, Delicate Chapter
Guy Lodge Film Critic The dynamic between student and teacher can be a charged, intimate one even in its most appropriate form: As children, we spend so much time with our educators, and are so dependent on their attention and approval, that the relationship can evolve into fast loathing or quasi-familial affection — an impression, either way, that often lives far longer in the memory than whatever it is they taught us. For naive 17-year-old Johanne (Ella Øverbye), an instant affinity with her new teacher Johanna (Selome Emnetu) begins with the similarity of their names, before she projects a far deeper emotional bond between them.
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‘Late Shift’ Review: A Nurse’s Work is Never Done in a Tightly Wound Overnight Drama
Guy Lodge Film Critic There’s a thin, squiggly tattoo running down the forearm of diligent hospital nurse Floria, always visible past the short sleeves of her royal-blue scrubs, but hard to really get a look at, since her hands are constantly in motion, doggedly busy. Occasionally, as we follow her through the exhausting nighttime rounds that make up “Late Shift,” we catch a glimpse of the ink and wonder what it is, what it means, what it says of this woman’s life outside long hours of caring for strangers.
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‘The Best Mother in the World’ Review: Another Study of Maternal Resilience From Brazil’s Anna Muylaert
Guy Lodge Film Critic The title isn’t intended ironically in “The Best Mother in the World” — at least not to the extent it is in, say, “The Worst Person in the World.” But there’s a truism embedded in its hyperbole: Most people on good terms with their mother would describe her as the world’s greatest, regardless of any flaws and errors along the way. The two young children of Gal (Shirley Cruz), the endlessly put-upon protagonist of Brazilian writer-director Anna Muylaert‘s new film, believe as much, their devotion only strengthened as the script puts them collectively through the wringer.
Guy Lodge Anna Muylaert Brazil county Person film performer social Love Rights Features Commentary
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‘Ari’ Review: An Intimate, Energizing Character Study of a Teacher With a Lot to Learn
Guy Lodge Film Critic For all the screenwriting manuals and maxims that insist on character goals and motivations and missions and all those things we’re supposed to have in real life too, there can be something riveting about a character with no plan at all. We never know quite where Ari, the eponymous protagonist of writer-director Léonor Serraille’s excellent third feature, is headed from one scene to the next, not least because he doesn’t either.
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‘Little Trouble Girls’ Review: A Sly, Sensual Debut Teases Out the Carnal Urges Behind a Prim Choirgirl Facade
Guy Lodge Film Critic The Sonic Youth song that lends “Little Trouble Girls” its title plays out over the closing credits, its English-language lyrics neatly encapsulating the fidgety frustrations at play in Urška Djukić‘s debut feature: “If you want me to/I will be the one/That is always good/And you’ll love me too/But you’ll never know/What I feel inside/That I’m really bad.” A shade too neatly, perhaps, since everything else in this sly, sensual coming-of-ager is so headily and tantalizingly allusive, as the film sharply evokes that adolescent age where worldly adult knowledge is just within view and just out of reach. Following a shy 16-year-old on a girls’ choir trip that exposes both her sexual naïveté and her deep, inchoate yearnings, this is a striking statement of intent from its Slovenian writer-director — there’s an airy delicacy here that invites comparisons to early Céline Sciamma, but with its own raw, restless edge.
Guy Lodge International Slovenia Choir film song awards Love Features
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‘Living the Land’ Review: Progress Takes Time In a Stirring, Season-Cycling Chinese Family Saga
Guy Lodge Film Critic There’s a patient, plainspoken poetry, neither overly earthy nor flowery, to “Living the Land,” a rolling rural drama that may be a work of pure fiction — but often feels wholly, organically observed, as if its storytelling were dictated by the rigors and challenges of seasons and soil. An unassuming but impressive second feature from Chinese writer-director Huo Meng, the film deftly captures the pace of life in a modest farming village on the brink of industrialization in 1991: a steady meander, at once languid and arduous, that is felt differently across four generations of the hard-up Li family.
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Are the BAFTAs the True Predictor of Oscar Things to Come?
Guy Lodge Film Critic The last two years of the BAFTA Awards told opposite stories of how Britain’s most prestigious film honors correspond with their American counterpart, the Oscars. In 2023, they went wholly in their own direction, voting differently from AMPAS in all major categories — showering Edward Berger’s “All Quiet on the Western Front” with gold and all but ignoring Oscar darling “Everything Everywhere All at Once.” Last year, however, they matched the Oscars in every category save for best visual effects, as Christopher Nolan’s “Oppenheimer” ran the table on both sides of the pond.
Christopher Nolan Tessa Ross Ralph Fiennes Edward Berger Jacques Audiard Guy Lodge Emilia Perez Britain France USA Austria Vatican film stars awards Music security Oscar UPS
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‘Sex’ Review: Masculinity Loosens Up in the First Chapter of Dag Johan Haugerud’s Arthouse Trilogy
Guy Lodge Film Critic The old maxim that men have only one thing on their minds gets an expansive corrective in Dag Johan Haugerud‘s “Sex” — the very title of which cheekily misdirects us with its blunt simplicity. Sex certainly comes up early and often in this playful, intricately nuanced character study, but in consistently surprising, stereotype-averse ways.
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‘Raptures’ Review: Religious Extremism Abets Toxic Masculinity In a Timely Swedish Period Piece
Guy Lodge Film Critic In case you’re in any doubt as to how you should respond when your hitherto mild-mannered husband announces plans to lead a religious sect — the answer is to run, very fast and very far — the Swedish drama “Raptures” should prove both engrossing and instructive. Even if you aren’t, writer-director Jon Blåhed‘s film remains both those things, though the trajectory of its fictional narrative isn’t altogether surprising.
Guy Lodge Sweden city Rotterdam film performer social audience classical community Extreme
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‘Fiume o Morte!’ Review: Irreverent Contemporary Reenactment of a Fascist Takeover Exposes the Absurdity of History
Guy Lodge Film Critic At a time when fascist politics are much on the rise in certain parts of the world, Igor Bezinović‘s highly creative documentary “Fiume o Morto!” serves as a reminder that even the most oppressive and vainglorious dictators can have markedly ephemeral legacies. The dictator in this case is Gabriele D’Annunzio, the celebrated Italian poet and army officer who, in 1919, took it upon himself to occupy the politically disputed city of Fiume — now called Rijeka — and turn it, briefly and foolhardily, into the Italian Regency of Carnaro, an independent city-state with himself as Duce.
Guy Lodge Robert Greene Gabriele Dannunzio Italy Croatia city Rotterdam film country Interviews Celebrity man Citi Features
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‘Wind, Talk to Me’ Review: A Filmmaker Works Through His Grief With Wit, Grace and Imagination
Guy Lodge Film Critic For many of us, periods of intense grieving don’t leave clear, linear memories. Time stretches, compresses and fragments, words and faces and gestures emerge irregularly from an overwhelmed blur, and often it’s everyday banalities — what we ate, bought or wore — that stick faster than more consequential events.
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‘The Virgin of the Quarry Lake’ Review: Adolescent Envy Turns Deadly in an Atmospheric Argentine Oddity
Guy Lodge Film Critic Whatever summer temperature it is where the average person’s mind begins to warp and melt in the general heat-haze, “The Virgin of the Quarry Lake” is set permanently to that exact degree. You can feel the slow, sweaty adhesion of skin to every surface — or simply to itself — in Argentine director Laura Casabé‘s unusual, genre-fusing debut feature: a would-be summer romance that is repeatedly shaken from its languid, lovestruck daze by stark, uncanny surges of violence.
Guy Lodge Mariana Enriquez Benjamin Naishtat Argentina film audience country Celebrity Rights AMD Features
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‘Sugar Babies’ Review: A Louisiana TikToker Hopes to Flirt Her Way Out of Poverty in a Surface-Level Portrait
Guy Lodge Film Critic The flighty mindset of hyper-online living proves an uneasy solution to the rough gravity check of small-town poverty in “Sugar Babies,” Rachel Fleit‘s documentary portrait of young, hard-up Louisiana women getting by on their wits, wiles and heavily TikTok-filtered faces. A working-class college student in her early twenties with dreams to chase and fees to pay, Autumn Johnson refers to herself as “a sugar baby without the sugar”: Trawling dating sites and social media platforms for moneyed men seeking some virtual flirtation, she plies them for money in exchange for texts and photos, all without ever meeting in person.
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‘Sauna’ Review: A Cis Gay Man Sees Queer Life Through Another Lens in a Sensitive Danish Drama
Guy Lodge Film Critic The Copenhagen sauna and sex club where Johan (Magnus Juhl Andersen) works is called Adonis, and he does his best to represent the brand. Tall, toned and tan, with a center-parted mop of wavy blond hair, he’s the very picture of Scandi male beauty — and a gay man who has never had his desirability questioned or challenged by others.
Guy Lodge Williams Denmark city Copenhagen film beautiful queer Gay man Features
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Film Industry Prejudice Drama ‘In Camera’ Lands North American Deal Following BAFTA Nod for Star Nabhaan Rizwan (EXCLUSIVE)
Naman Ramachandran Sunrise Films has secured North American distribution rights to British film “In Camera,” the feature debut from writer-director Naqqash Khalid, following lead actor Nabhaan Rizwan‘s nomination for the BAFTA Rising Star Award. The deal, inked with Together Films, sets the film for an April 15 release.
Guy Lodge Mary Burke Amir El-Masry International Naqqash Khalid Britain USA city Stockholm film stars actor Rights security Features
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‘Predators’ Review: David Osit’s Quietly Trenchant Documentary Asks What Truth Came Out of a True-Crime Phenomenon
Guy Lodge Film Critic If “To Catch a Predator” taught us anything, it was about the hollow authority asserted by a man in a well-cut suit. Between 2004 and 2007, NBC’s pedophile-baiting “Dateline” spinoff captured the imagination of the American public, announcing itself as not just reality-based entertainment but a protective public service — largely on the strength of host Chris Hansen’s suave, smooth presence as he cornered and questioned potential sex offenders with the apparent clout of a cop or lawyer, as the cameras kept rolling.
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