Crimson staff writer
“Nitram” is undoubtedly a strong technical film, especially with Jones's lead performance. However, its convoluted relationship with mental health, and its self-confused goals of sharing the Port Arthur Massacre story still leaves it with plenty of room to grow.
The Harvard Crimson sat down with Rose while she was at the 2021 Cannes Film Festival to chat about identity, inspiration, hope, and what’s next for her career. This conversation has been edited and condensed for clarity.
Not only does Chow work to distill a complicated problem into a moving documentary, but he also does critical work to show the protesters as genuine people, rather than radical talking heads.
Despite its attempts at engaging with complex concepts of racism in Europe and America, classism, family, and acceptance, the film essentially leaves its characters where they started.
“Une Histoire” not only excels at what it sets out to do, but also leaves its audience rapt and aching for more. As Bouzid said of her hopes for the film at the beginning of the premiere, “I hope you’ll want to love, and to wish to do something else than love. To touch, too.”
Shot in a romantic, sultry black-and-white, the veteran director’s latest film is charming, moody, and refreshingly unassuming as it delves into the realities of intimacy in the modern world.
In its many triumphs, “Mothering Sunday” proves a strong next step for Husson as she continues to develop her career as a filmmaker.
As one might expect from Anderson, his much-anticipated film (which premiered in-competition at the 2021 Cannes Film Festival), is a hilarious, endearing, and absolutely breathtaking work of art.
Richard Linklater’s “Before Sunrise” posits that sharing a long train ride with a stranger is romantic. In his sophomore film, “Hytti Nro. 6” or “Compartment No. 6,” however, director Juho Kuosmanen would seem to disagree.