A Seattle moviegoing lifestyle magazine
A traipse through a century of Spanish history as seen through a few gay icons, La Bola Negra is a very fashionable film, at once a conscious entry in contemporary cinema’s ongoing fixation with the archive and a throwback to Miramax Oscar Bait, characterized not inaccurately as The Hours for Federico Garcia Lorca.
Once Upon a Time in Harlem (2026 | USA | 100 minutes | Conceived and shot by William Greaves, Directed by David …
Eric reports from the New York Film Festival on Double Freedom, Lisandro Alonso’s a quasi-remake of his 2001 debut, La Libertad.
Eric reports from the New York Film Festival on My Undesirable Friends – Part II: Exile, Julia Loktev’s massive globe-spanning documentary about dissident Russian journalists.
Eric reports from the New York Film Festival on My Wife Cries, as wonderful a film Angela Schanelec has ever made.
Eric reports from the New York Film Festival on The Diary of a Chambermaid, Radu Jude’s most sentimental tale yet.
Eric reports from the New York Film Festival on Ana Vaz’s beautiful new feature, Hanabi.
There are so many fantastic French coming-of-age films that to direct one, especially one as self-consciously grand as Marine Atlan’s La Gradiva necessitates contending with that most hallowed of national traditions. In some ways, La Gradiva is an epic-sized version of countryside group portraits like Graduate First or Wild Reeds, following a class of French high school seniors on a field trip to Pompeii just before they receive their college admissions results. Amidst the ruins of the ancient city, the film is about a group of children on the cusp of adulthood who in the process of connecting with ancient tragedy, find themselves confronted with their own mortality.
