Published in Cinema Sentries. In 2007’s Mr. Bean’s Holiday, Willem Dafoe played Carson Clay, a filmmaker whose film ‘Playback Time’ premieres at Cannes. Tommaso, which also premiered at Cannes last year, reminded of the aforementioned film-within-film, only less absorbing and exponentially more pretentious. The film brings back Dafoe into an Abel Ferrara contemplation for the fifth time, with their last collaboration being Pasaloni (2014), a film that chronicles the life … Continue reading Tommaso: A Humanistic Drama That’s Devoid of the Drama

Benjamin Ree’s The Painter and The Thief is a musing, contemplative portraiture of juxtaposing individuals… Continue reading The Painter and the Thief: Therapeutic Portrayal of Uncommon Intimacy

Published in Cinema Sentries. When Martin Scorsese is the focal point of conversations between cinephiles, it is highly likely that the master’s gangster-films – which made him the filmmaking brand he is – permeate the circumference of the discussion. Agreed, Scorsese’s vision added a layer to the aforementioned genre, and his films have become the calibration standards to evaluate contemporary films falling under the gangster’s … Continue reading In Search of Kundun: Review | For The Love Of Scorsese And His Pictures

Published in Cinema Sentries. The Wolf House is 73 minutes of “Wow! How did they pull off?”. The startling stop-motion animation, which bestows ‘awe!’ after ‘awe!’ every minute is only one of the pillars that hold this astonishing form of story-telling. Masquerading as a propaganda film to cleanse the ill-reputation of Colonia Dignidad, an isolated community formed by German fugitive Paul Schäfer, there’s more to the … Continue reading The Wolf House: Review