When it first appeared in 2000, Tears of the Black Tiger (aka Fah Talai Jone), became an instant sensation at almost every film festival that programmed the directorial debut of Wisit Sasanatieng. One of the most ambitious productions to ever emerge from the Thai film industry, Tears of the Black Tiger seemed poised for international success upon its original release but got tangled up in distribution troubles and didn’t receive a U.S. theatrical release until seven years later, despite a great reception at the 2001 Seattle International Film Festival. Continue reading
After winning the Michael Powell Award for Best British Feature at the 2019 Edinburgh International Film Festival and various other accolades in Europe, William McGregor’s debut feature Gwen is opening in selected theaters across the U.S. this August. Some critics have compared it to Robert Eggers’ The Witch (2015), Ben Wheatley’s A Field in England (2013) and other historical dramas with supernatural elements but don’t be misled by those comparisons. The horrors that await Gwen are grounded in reality – sickness, animal deaths, misogyny and grinding poverty. Continue reading
In an amoral world where everyone is a liar, cheat, assassin or ruthless opportunist, can there be any heroes? It all comes down to a matter of charisma and underdog appeal in West German director Klaus Lemke’s Negresco – Eine Todliche Affare (1968), which is also known by the far more suggestive title, My Bed is Not for Sleeping. The film is a flashy, colorful babble of swinging sixties cinema that flirts with several genres without committing to any. Is it an espionage thriller? A sexy jet-set romance? A cynical expose of the La Dolce Vita crowd and their pretentious lives? Continue reading
Although released in 2001 and greatly admired by many prominent film critics, Delbaran, directed by Iranian filmmaker Abolfazl Jalili, is not nearly as well known as other Iranian prize winners such as Abbas Kiarostami’s The Wind Will Carry Us (1999) or Mohsen Makhmalbaf’s Kandahar (2001) but deserves to be. The story focuses on Kaim, a fourteen-year-old war orphan trying to survive in a desolate Iranian village near the Afghanistan border. And the film is in the grand tradition of other renowned classics that feature child protagonists caught up in the madness of war such as Rene Clement’s Forbidden Games (1952), Andrei Tarkovsky’s Ivan’s Childhood (1962) and Elem Klimov’s Come and See (1985). The difference is that Delbaran is much more austere and understated than those better known masterworks.