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Karyn Kusama’s THE INVITATION (2015) is eerily poetic connecting its seductively almost paralyzing ambiance, to what I imagine it feels like to be in a sedated juncture of elevated sorrow. Sorrow being the big bad wolf in this decadent, psychological tale of a couple hosting a dinner party with a small group of close friends
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Anna Biller’s THE LOVE WITCH is magnetic for a multitude of reasons whether it resides in its themes of feminism, fantasy, witchcraft and the pursuit of love, or perhaps it’s strength in color schemes, melodramatic dialogue, and some swanky, groovy music. The mise en scène is of the grandest kind as it’s impressiveness shines in
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One cannot deny the hilarity in the opening sequence of SWISS ARMY MAN and those of you who have seen it know what I’m talking about that is of course if you have that kind of sense of humor. Being this film was distributed by A24 it makes sense because in a similar vein of
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I had my first Cinefamily experience last week. I had the pleasurable chance seeing my first Lina Wertmüller film, LOVE & ANARCHY and it was unique sitting among other cinephiles. It’s one of the great experiences of sitting among an audience listening to them laugh collectively at such gut wrenching hilarity whether it be
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I had my first Cinefamily experience last week. I had the pleasurable chance seeing my first Lina Wertmüller film, LOVE & ANARCHY and it was unique sitting among other cinephiles. It’s one of the great experiences of sitting among an audience listening to them laugh collectively at such gut wrenching hilarity whether it be a
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What’s so mesmerizing about Jane Campion’s THE PIANO (1993) is this feminist mindset captured by the lens tethered to vivid imagery and subtle language translated in strange silences, hand gestures, and facial expressions along with a compelling soundtrack that hypnotizes the mind into a strange, euphoric lull of bewilderment and sometimes frustration because it leaves
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Where do I even begin with Liliana Cavani’s 1974 THE NIGHT PORTER as the core foundation of the film’s subject matter is about a sadomasochistic relationship? The core of this story lays heavily in the tragic isolation between Lucia, a Holocaust survivor (played by Charlotte Rampling) and Max her former Nazi torturer (played by Dirk
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Where do I even begin with Liliana Cavani’s 1974 THE NIGHT PORTER as the core foundation of the film’s subject matter is about a sadomasochistic relationship? The core of this story lays heavily in the tragic isolation between Lucia, a Holocaust survivor (played by Charlotte Rampling) and Max her former Nazi torturer (played by Dirk
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I couldn’t help but notice the underlying theme in Mel Gibson’s directorial work and this hit me in the very early hours this morning. Fairly random, I’m aware, but if you look at BRAVEHEART or PASSION OF THE CHRIST and HACKSAW RIDGE what do all of these three stories embody? A man’s will and fierce
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Steve McQueen’s HUNGER (2008) is a powerful, meditative work of art peering into the 1981 Irish hunger strike in the Maze Prison spearheaded by Bobby Sands (Michael Fassbender). What’s so extraordinary yet painfully captivating about this film is the explicit images McQueen drives into the heart of the narrative. Aside from the 17-minute-long dialogue between
[Film Reviews from a Female Brain]
MARISSA THE CINEPHILE 