She explains her bouts of infirmity in departure lounges: "I'm afraid of connections … in airports." Cast: Octavia Spencer, Jahzir Bruno, Anne Hathaway, Stanley Tucci, Kristin Chenoweth, Chris Rock, Codie-Lei Eastick Director: Robert Zemeckis Screenwriter: Robert Zemeckis, Kenya Barris, Guillermo del Toro Distributor: HBO Max Running Time: 106 min Rating: PG Year: 2020. But the filmmakers often play these seven-minute scenes as much for laughs as wonder. Daniel Nolasco’s Dry Wind and Gil Baroni’s Alice Júnior, both screening in the international section at this year’s NewFest, are refreshing in no small part because they find two Brazilian filmmakers telling stories set in regions of their country that are cinematically underrepresented and largely unknown to international audiences.

In other words, another piece of family-friendly-ish content to fill the yawning hours of pandemic confinement. This somehow funds her life in a funkily bohemian area of lakeside Toronto, where the sun seems always to shine, with her husband, Lou (Seth Rogen), who is a homebody too, working on a book of chicken recipes — only chicken — possibly a sign, or even cause, of a certain monotony in their lives?

Masterworks is uncomfortable with the modern iteration of auteurism, which has been corrupted from its French New Wave origins by being utilized as often macho shorthand that denies the contributions of other craftspeople involved in a film’s production. Cohen evidently wants us to feel for his subjects, to find even a bit of empathy for some Qanon conspiracy theorists and Trump cultists.

Thank you for your review of Take This Waltz. Control is the theme of Masterworks. As Wolfwalkers begins, the 17th-century Irish city of Kilkenny has a wolf problem. Alice and her dad have to move down south because he wants to develop a new fragrance using pine cones local to the region, whose fruit only comes out if the person blowing through the cone has discovered the pine cone’s real essence. By the time he’s revealed in all his skeletal abjectness, though, Larry’s credibility as a menacing presence has already been undercut by the escapes-by-expeditious-cut that end virtually every scene of suspense. They meet by chance in an airport, and there is (supposedly) an instant chemistry, though Daniel is perplexed by the fact that he glimpsed her in a wheelchair. Instead, the whole affair is wasted on a stunt that gets Cohen immediately kicked out of the event. Which is to say there’s hope, and catharsis, offered by the horror film. Ecological messaging drives Will Collins’s screenplay to an inevitable, climate-centric climax, even if the film’s mystic swirls overwhelm any practical, contemporary takeaways about caring for the Earth.

Kargl’s camera prowls around Leder’s madman like an ever-present ghost—a haunting, torturous presence that captures every bead of cold sweat, each anxiety-ridden movement, and the agony of all his facial expressions as he tracks his prey. In it, Laugier suggests that there’s no way to escape from the pain of the exclusively physical reality of his film. The film’s most distinctive sequences depict the world from a wolf’s-eye view—or, rather, a wolf’s nose, as shimmering, colorful streaks of scent trails show how the transformed Robyn navigates the forest on all fours. It’s a provocative juxtaposition for Dry Wind to stage its queer kinkfest at the epicenter of the land of Bolsonaro. Wes Greene, Throughout Alice, Sweet Alice, Alfred Sole paints a rich and febrile portrait of how society enables dysfunction on multiple fronts, from the domestic to the religious to the psychiatric. These works of horror-tinged science fiction draw the viewer in through their ambiguous relationships to traditional space and time; they’re complicated puzzles, and a good part of their fun is trying to fit the pieces together.

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