With its heart clearly in the right place, Dellal’s film mixes what I love most in life — fashion and cinema.
Read MoreFiona Shaw and Katherine Waterston in a still from ‘Park Avenue’, used with permission
Fiona Shaw and Katherine Waterston in a still from ‘Park Avenue’, used with permission
With its heart clearly in the right place, Dellal’s film mixes what I love most in life — fashion and cinema.
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Why is it that films like Dolores Fonzi’s wondrous directorial venture always remind us about the forgotten history, and how condemned we remain as a human race to repeat our mistakes in the future if we don’t come to terms with our past?
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While the Iranian helmer’s latest film may not be his best, it has turned out to be his most crucial to date — all because Panahi is finally able to promote it.
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Turns out you do. And Cooper is both funny in it, and wondrous behind the camera. In a few words, it’s a film you won’t want to miss.
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Dhafer L’Abidine and Yasmine Al Massri in a still from ‘Palestine 36’ courtesy of Philistine Films
Why, you ask? Because if we are ever to understand the Palestinian/Israeli issues of the present, we need to go back nearly a century and wrap our heads around the crimes, struggles and mistakes of the past.
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Tessa Thompson in ‘Hedda’ by Nia DaCosta, photo courtesy of Amazon
The film, directed and written by Nia DaCosta based on the play by Henrik Ibsen, transports the story to 1950s England, with all its class issues and gender bias, and adds into the mix an LGBTQ twist that transforms what could be a dated narrative into one for the here and now.
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Banin Ahmad Nayef in a still from ‘The President’s Cake’ courtesy of Sony Pictures Classics
The Iraqi helmer’s film premiered in Cannes this year and suddenly, I couldn’t imagine a world without its presence. But it was as if one day, Hasan Hadi’s presence and talent exploded onto our consciousness, ready to take his place in the world of cinema greats.
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Úrsula Corberó Delgado and Nahuel Pérez Biscayart in a still from ‘Kill the Jockey’, used with permission
While Luis Ortega’s stunning 2024 film may be primarily an Argentinian title, as a Spanish co-production jury members Vincent Jaskowski-Prowse, Leigh Singer and I were able to celebrate the title in style at this year’s festival. And, in the process, we discovered a film that has filled our dreams ever since.
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Two wondrous filmmakers, two outstanding actors and one musical legend come together to recount an icon and set the record straight. In more ways than one.
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A still from ‘Cotton Queen’, courtesy of Strange Bird
Behind what could be a simple tale of a young girl coming of age in Sudan, filmmaker Suzannah Mirghani’s debut feature weaves an extraordinary and cautionary tale of respect for one’s self and for the environment around us, which are always crucially, and importantly intertwined.
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A still from ‘Downton Abbey: The Grand Finale’ courtesy of Focus Features
I’ve been thinking a lot lately about what makes a perfect “franchise” film and the Simon Curtis-directed 2025 gem, in theaters on Friday, September 12th, may just end up winning the prize.
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Yile Vianello in a still from ‘AGON’ by Giulio Bertelli, photo courtesy of The Match Factory
This stunning film, which packs a punch and relentlessly holds on to the viewer, until you realize you may have just run out of breath, world premiered at this year’s Venice Film Festival in the 40th edition of Critics’ Week, one of the festival’s parallel section.
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Toni Servillo in Paolo Sorrentino’s ‘La Grazia’, image courtesy of La Biennale di Venezia
The Neapolitan Maestro’s perfect, awards-worthy Venice opener sees Toni Servillo playing an out-going Italian President of the Republic who, faced with several life-changing choices, allows us, the audience, to discover through him the true meaning of the word “grace”.
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Joaquin Phoenix and Pedro Pascal in Ari Aster’s ‘Eddington’ now in theaters
In spreading his message of lives often lived in shades of grey — not just good vs. bad — the American filmmaker enlists a quartet of actors who are redefining cinema as we know it.
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The iconic film has never looked so good or sounded so hauntingly modern and this remastered version, courtesy of the Deutsche Kinemathek, will be in UK cinemas starting August 22nd. Why watch it, you may ask? Because the 1925 film has never been so bang on, filled with actuality and gravitas.
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If I have anything to do with it, Oscar-winning director Michel Hazanavicius’ animated masterpiece will soon come to US cinemas so that you too can experience this gem in all its actuality, poignancy and beauty.
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Harvey Schein, photo courtesy of the Schein family archives
And this documentary proves one to be watched, if you find yourself in NYC starting July 18th and LA from July 25th.
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I was lucky to witness a special London screening of the film, thanks to Fashion and Cinema’s Joana Granero, featuring her Q&A with costume designer Penny Rose. And found myself falling in love with an artist whose breaking of conventions has become the stuff of legends… But I’ll leave you guessing just who that is.
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It is rare to encounter a film that is so utterly honest and true to its subject, no matter how difficult a tale that is to tell. Gregorio Sassoli and Alejandro Cifuentes, the duo behind the documentary ‘Saint Damian’ have managed such a feat, and in the process, have created a masterpiece that will crack open some much needed truths, all the while conquering every heart in the audience.
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A still of Karla Murthy with her father, courtesy of the filmmaker
Back when I was growing up in the US, there was a saying: “Everybody loves a winner” a phrase derived possibly from the 1967 song. Nowadays, from social media to the movies, and through everything in between, we’ve come to love the “losers” much much more. In her personal documentary, award winning filmmaker Karla Murthy talks about one such person. Someone very very close to her — her dad.
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