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By Sean Boelman
One of the most in-demand titles in the Criterion Collection is the out-of-print edition of John Woo’s Hard Boiled. It only makes sense that Criterion would add more of the filmmaker’s movies to their lineup, and the next one to join the fold is an early film of his — the Wuxia romp Last Hurrah for Chivalry.
The film is an epic adventure about a nobleman seeking vengeance with the assistance of two expert swordsmen. As is the case with many martial arts movies, the story is convoluted, with it being hard to follow whose allegiance rests with whom, but the fun is the absurd and larger-than-life nature of the narrative. This type of film falls firmly within the wheelhouse of Hong Kong action director John Woo, whose movies are known for being heavily stylized and ridiculous, but impressive technical feats nonetheless. The same is very much true here, even though it is one of the earlier works in his filmography. Although Wuxia films have existed for decades, they weren’t really popularized in Western culture until the early 2000s. As such, it’s always fascinating to see an early work in the genre, especially when it is made by a filmmaker with such technical prowess and maximalist tendencies as Woo. 
As one would expect from a Wuxia film, there are some amazing martial arts fight sequences throughout. And for a movie that was made in 1979, the special effects are shockingly good, allowing the film to make the most out of its surreal and buoyant tone and action sequences. At a point, the swordplay begins to become somewhat monotonous, but then the action choreography takes a turn that is far more ambitious.
Last Hurrah for Chivalry contains what might be one of the greatest sequences ever committed to film. The candle room sequence includes both amazing choreography and some absolutely insane pyrotechnic effects. It sets a very high bar for the rest of Woo’s career, but fans know that the master action filmmaker one-ups himself with each and every movie he makes. The only new bonus feature on this edition is a new interview with kung fu cinema scholar Grady Hendrix. Otherwise, it’s a bit bare-bones in that regard. Still, the film’s 2K restoration is pretty great, its crisp image being more than enough reason alone to pick up the Blu-Ray edition of this previously hard-to-find classic of Asian cinema. Last Hurrah for Chivalry is exactly as enjoyable as you would expect from a Wuxia movie made by John Woo. Genre cinephiles will certainly want to pick up this pivotal piece of martial arts cinema history. The Criterion Collection edition of Last Hurrah for Chivalry is now available.
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By Sean Boelman
French filmmaker Marguerite Duras’s filmography has been a mainstay on The Criterion Channel for a while now, so it was only a matter of time before her films were added to the physical collection. Two Films by Marguerite Duras is a two-disc set that collectors will want to add to their shelves, as it combines two important works of woman-helmed experimental cinema.
For those unfamiliar with Duras’s style, it’s known for being very experimental — with gorgeous visuals, interesting uses of sound, and lots of poeticism in its dialogue. She is arguably better known for her literature and for writing the French New Wave classic Hiroshima Mon Amour, but cinephiles are certainly familiar with her directorial efforts. The set is primarily defined by its inclusion of Duras’s visually splendid period piece, India Song, following the wife of a French diplomat in 1930s India as she drifts through her unsatisfying life. It’s long and talky — and perhaps even outstays its welcome — but it’s an impressive feature nonetheless. As the “Side B,” if you will, the Two Films by Marguerite Duras set includes Baxter, Vera Baxter, which is arguably the superior of the duo despite getting second billing. Like India Song, this film is quite visually stunning despite its restrained use of setting. The use of music in this one also stands out, with a catchy island tune recurring throughout. 
It makes sense why these were the two films picked for the set — beyond being Duras’s two most recognizable films behind the camera: they feel very thematically connected. Both are about women stuck in unhappy marriages and having affairs, but the approach that Duras takes is quietly internalistic rather than the melodramatic love triangles we are used to seeing in the genre.
Both films also boast impressive leading performances. Delphine Seyrig — whom cinephiles may know as the eponymous protagonist from Jeanne Dielman, 23 quai du commerce, 1080 Bruxelles — is just tremendous as the discontent diplomat’s wife in India Song. She also has a supporting turn in Baxter, Vera Baxter, but the more inspiring performance in that film is from Claudine Gabay as the eponymous character. This set has what might be one of the most interesting bonus features on any Criterion Collection edition to date: a newly-discovered alternate English-language audio track to India Song that was directed by Duras herself. Although dubbing is usually something to stay away from, it’s interesting to see that option on a set like this and may be worth considering checking out. The work of Marguerite Duras is an acquired and very particular taste, but Two Films by Marguerite Duras is a worthy addition to the collection. Both films mean a lot to the world of experimental cinema, and it’s nice to see them getting their time in the spotlight. The Criterion Collection edition of Two Films by Marguerite Duras is now available.
By Sean Boelman
The Sundance Film Festival kicks off the year of independent cinema as a breeding ground for some of the most exciting films from around the world. Even before festival-goers began to convene upon the mountains in Park City, distribution deals were in the works for the movies that are going to be the next big thing. The most exciting part of attending a festival like Sundance is getting the opportunity to discover these indie gems.
We at disappointment media are covering the 2023 Sundance Film Festival remotely again, and we will be reporting on what we think may be the gems to look out for — many of which are accessible from your own home. (We will note if a film is not available for online viewing.) Be sure to check back in on this article, as we will be updating it with more brief thoughts as we continue to see more films! Twice Colonized
Aaju Peter appears in Twice Colonized by Lin Alluna, an official selection of the World Documentary Competition at the 2023 Sundance Film Festival. Courtesy of Sundance Institute | Photo by Angela Gzowski Photography.
There’s no questioning that Greenland Inuit lawyer and activist Aaju Peter is an extraordinary woman who has managed to accomplish some amazing things, and Twice Colonized does an excellent job of giving us an intimate, fly-on-the-wall look into her life. While the film’s call to action isn’t as urgent as one would hope, especially considering the breadth of the work that Peter is doing, the film asks some interesting questions about the idea of legacy and how the impact we make can last.
Against the Tide
A still from Against the Tide by Sarvnik Kaur, an official selection of the World Documentary Competition at the 2023 Sundance Film Festival. Courtesy of Sundance Institute | Photo by Snooker Club Films.
One of the signs of a great verité documentary is that it doesn’t even feel like a documentary, and that is the case with Against the Tide. Telling the story of two fishermen in a village torn between traditional and modern ways, the storytelling and cinematography in this film are so exceptional that viewers will feel as if they have been transported to this village and are among its villagers. The result is a really captivating, compelling look at this remote part of the world.
Going Varsity in Mariachi
A still from Going Varsity in Mariachi by Alejandra Vasquez and Sam Osborn, an official selection of the U.S. Documentary Competition at the 2023 Sundance Film Festival. Courtesy of Sundance Institute.
There’s no question why Going Varsity in Mariachi won the Jonathan Oppenheim award for Documentary Editing — it’s one of the most sleekly-produced documentaries in this year’s lineup. However, this unorthodox underdog story about a high school band participating in competitive mariachi runs a bit longer than it should. There are always a few documentaries at Sundance that would have been better off as a short than a feature, and while this is one of them, it’s still a ton of fun.
Going to Mars: The Nikki Giovanni Project
A still from Going to Mars: The Nikki Giovanni Project by Joe Brewster and Michèle Stephenson, an official selection of the U.S. Documentary Competition at the 2023 Sundance Film Festival. Courtesy of Sundance Institute.
Going to Mars: The Nikki Giovanni Project won the Grand Jury Prize in the U.S. Documentary Competition, and it seems like an award more for the subject than the film itself. There’s no denying how amazing of an artist Giovanni is — and hearing her poetry spoken by herself or narrator Taraji P. Henson is wonderful — but the film otherwise follows a pretty standard biographical documentary format. Still, the film is powerful and captivating if only because of the power of Giovanni's presence and story.
A Still Small Voice
A still from A Still Small Voice by Luke Lorentzen, an official selection of the U.S. Documentary Competition at the 2023 Sundance Film Festival. Courtesy of Sundance Institute.
Luke Lorentzen’s A Still Small Voice has a premise that sounds like it shouldn’t be terribly interesting: an aspiring hospital chaplain begins to experience self-doubt as she attempts to provide reassurance to patients on their deathbeds. However, Lorentzen’s storytelling is so intimate — providing a level of access that borders on feeling like voyeurism — that it’s absolutely riveting. There are some parts that feel unfocused, such as a subplot about the protagonist’s supervisor experiencing his own crisis of morality, but the core of the film is so quietly resonant that it is hard to shake.
The Accidental Getaway Driver
Dustin Nguyen and Hiệp Trần Nghĩa appear in The Accidental Getaway Driver by Sing J. Lee, an official selection of the U.S. Dramatic Competition at the 2023 Sundance Film Festival. Courtesy of Sundance Institute | photo by Ron Batzdorff.
Sing J. Lee’s The Accidental Getaway Driver isn’t differentiated as much by its story as it is by how it approaches it. The story is a somewhat straightforward crime drama — a taxi driver is accidentally caught up in a criminal scheme when three escaped convicts take him captive — but Lee tells the story with such a focus on humanity that it feels refreshing. Is it a tad sentimental? Perhaps. Still, Hiep Tran Nghia’s performance is absolutely exquisite and what makes the film successful.
Squaring the Circle (The Story of Hipgnosis)
A still from Squaring the Circle (The Story of Hipgnosis) by Anton Corbijn, an official selection of the Spotlight program at the 2023 Sundance Film Festival. Courtesy of Sundance Institute.
This year, more so than average, the Sundance documentary slate is full of bleak and depressing films. As such, it’s nice to see something like Squaring the Circle (The Story of Hipgnosis), a lighthearted music documentary that offers a relieving reprieve from the tension and devastation. Telling the story of the designers behind some of the most iconic album covers in music history, the documentary gives us the chance to hear from plenty of great musicians, and even more importantly, hear their music.
Iron Butterflies
A still from Iron Butterflies by Roman Liubyi, an official selection of the World Documentary Competition at the 2023 Sundance Film Festival. Courtesy of Sundance Institute. | Photo by Andrii Kotlia.
Like last year’s Klondike (which had an in-person encore showing at this year’s festival), the documentary Iron Butterflies tells the story of the downing of Malaysia Air flight MH17. While this is undeniably an important story and there is plenty more to learn and be told about this topic, the documentary’s overly abstract and experimental nature holds it back. The filmmakers were so devoted to creative expression and experimentation with form that they fail to capture what makes this story so powerful in the first place.
The Persian Version
Layla Mohammadi and Niousha Noor appear in a still from The Persian Version by Maryam Keshavars, an official selection of the U.S. Dramatic Competition at the 2023 Sundance Film Festival. Courtesy of Sundance Institute | photo by Andre Jaeger.
It’s no surprise that The Persian Version won the Audience Award at this year’s Sundance, as it’s an inoffensive, crowd-pleasing comedy benefiting from its filmmaker’s extremely personal touch. However, even though it is nice to see a film with such great representation as this, its beats are so conventional and formulaic that it ends up being rather predictable. It’s not a bad film by any means, but it never ascends beyond its saccharine nature.
Animalia
A still from Animalia by Sofia Alaoui, an official selection of the World Dramatic Competition at the 2023 Sundance Film Festival. Courtesy of Sundance Institute.
The Moroccan film Animalia is perhaps most effective as an exercise in atmosphere over anything else. Although the plot itself is rather simple despite putting up the guise of something more profound and challenging, strong direction by Sofia Alaoui and a great performance by Oumaïma Barid make this film an absolutely riveting watch. I do wish it had engaged with its themes a bit more deeply, but I was constantly engaged by the filmmaking on display.
The Eternal Memory
Paulina Urrutia and Augusto Góngora appear in The Eternal Memory by Maite Alberdi, an official selection of the World Documentary Competition at the 2023 Sundance Film Festival. Courtesy of Sundance Institute.
Chilean filmmaker Maite Alberdi follows up her Oscar-nominated documentary The Mole Agent with a film that is arguably equally sentimental. The Eternal Memory certainly presents a compelling look at the lives of a couple who are devastated by the effects of Alzheimer’s, but its attempts to get an emotional reaction out of the viewer by any means necessary become somewhat overwhelming at a certain point. It’s certainly a well-made documentary, and it’s hard to fault anyone for liking it, but Alberdi’s style simply isn’t for me.
Beyond Utopia
A still from Beyond Utopia by Madeleine Gavin, an official selection of the U.S. Documentary Competition at the 2023 Sundance Film Festival. Courtesy of Sundance Institute.
One of the common things about many of this year’s Sundance documentaries is that they were extraordinarily stressful, and that is certainly the case with Beyond Utopia. Following a network of people throughout Asia who strive to help North Korean defectors reach safety, the film is shot and edited in a downright captivating way. Although this arguably could have used a tighter cut, removing some of the subplots in favor of the main family, it’s still one of the most captivating documentaries of the festival.
Fantastic Machine
Viktoria Odintcova appears in Fantastic Machine by Axel Danielson and Maximilien Van Aertryck, an official selection of the World Documentary Competition at the 2023 Sundance Film Festival. Courtesy of Sundance Institute| Photo by Alexander Tikhomirov.
Axel Danielson and Maximilien Van Aertryck’s Fantastic Machine won an award for Creative Vision in the World Documentary competition, and while its editing is nothing short of impressive, it grows somewhat monotonous at a certain point. Additionally, the film thinks it’s more profound in its statements than it really is, as its central thesis is actually very obvious and straightforward.
A Little Prayer
Anna Camp, David Strathairn, Billie Roy, Celia Weston and Jane Levy appear in A Little Prayer by Angus MacLachlan, an official selection of the Premieres program at the 2023 Sundance Film Festival. Courtesy of Sundance Institute | photo by Diana Greene.
Angus MacLachlan’s A Little Prayer boasts a star-studded ensemble but suffers from overly minimalistic writing and direction. The film’s dialogue is very stilted, but it certainly doesn’t help that MacLachlan directs his actors as if they are performing in a play, leading to delivery that fails any attempt it makes at realism. Beyond that, the film’s clumsy handling of conservative politics comes across as it endorsing pro-life opinions, which is certainly frustrating.
Food and Country
A still from Food and Country by Laura Gabbert, an official selection of the Premieres program at the 2023 Sundance Film Festival. Courtesy of Sundance Institute.
Documentarian Laura Gabbert is known for making some of the greatest culinary documentaries of the past decade, so it’s shocking that Food and Country is such a dud. Exploring the impact that the COVID-19 pandemic had on the food supply chain, Gabbert’s arguments are filled with fallacies and myths that might have done some good had they been shared a year ago, but instead reintroduce a problem that the industry has already managed to fix. The result is a film that feels both half-baked and entirely irrelevant to where we are right now.
The Stroll
A still from The Stroll by Kristen Lovell and Zackary Drucker, an official selection of the U.S. Documentary Competition at the 2023 Sundance Film Festival. Courtesy of Sundance Institute.
Zackary Drucker and Kristen Lovell’s The Stroll is one of two documentaries playing at this year’s Sundance, and arguably the less effective of the two. In this portrait of the transgender sex workers of New York’s meatpacking district, the filmmakers can’t seem to figure out how we, as the audience, are supposed to feel about these subjects. Are we meant to be inspired by how these women were empowered by better trans rights and sex positivity, or are we to be disturbed by a system that continues to oppress them? Ultimately, the film wants us to feel a bit of both, and it struggles to make us feel anything as a result.
By Sean Boelman
The 2023 Sundance Film Festival is back, and for the first time since 2020, has an in-person element in Park City in addition to its beloved online options. Now, cinephiles can again converge in the mountains or can choose to watch most of the lineup from the comfort of their own homes!
For the second year in a row, we at disappointment media are covering the festival remotely, and we wanted to call your attention to what we think are some of the films you should keep your eye on — whether you’re attending the festival in person or kicking back on the couch to watch some great indie cinema! Other People's Children
Having debuted on last year’s fall festival circuit, Rebecca Zlotowski’s wonderful romance Other People’s Children is making its U.S. Premiere at Sundance as part of the Spotlight section. Buoyed by a performance by budding starlet Virginie Efira — who gives what is sure to be the single best turn in any film at the festival this year — the film refreshingly avoids being melodramatic while being an absolute emotional powerhouse of a film.
The Tuba Thieves
For many years now, Sundance has been a champion for films telling disabled stories — just a couple years ago being the launchpad for the Best Picture-winning film CODA. The metafiction documentary The Tuba Thieves is the latest in that legacy of d/Deaf representation, and it might be the most unorthodox film at the festival this year. Don’t let the title (or the Sundance description) fool you, this is straight avant-garde cinema. That’s not an insult by any means, though. This is a singular, fascinating cinematic experience.
20 Days in Mariupol
Evgeniy Maloletka appears in 20 Days in Mariupol by Mstyslav Chernov, an official selection of the World Documentary Competition at the 2023 Sundance Film Festival. Courtesy of Sundance Institute | AP Photo/Mstyslav Chernov.
Although there have already been some documentaries about the Russian invasion of Ukraine, it would be hard to imagine one as viscerally powerful as journalist Mstyslav Chernov’s 20 Days in Mariupol, premiering in the World Cinema Documentary competition. This is an extraordinarily brutal watch, with Chernov offering a no-holds-barred glimpse into the very real terrors being experienced by the Ukrainian people at the hands of the Russians, but viewers will absolutely feel how important it is to watch this film.
The Longest Goodbye
Cady Coleman appears in The Longest Goodbye by Ido Mizrahy, an official selection of the World Documentary Competition at the 2023 Sundance Film Festival. Courtesy of Sundance Institute. | Photo by NASA/Bill Ingalls.
Also in the World Cinema Documentary competition is The Longest Goodbye, which is poised to be this year’s documentary breakout hit a la Fire of Love. Like the acclaimed documentary from last year’s festival, The Longest Goodbye is a science documentary with some of the most gorgeous nature cinematography you may ever see in your life. The shots included in the film depicting the vast beauty of outer space are simply breathtaking — and the Earth-bound stuff is pretty great too. In its exploration of the isolation experienced by astronauts, the film finds an unexpectedly human and empathetic angle. It’s a crowd-pleaser in the best way.
Onyx the Fortuitous and the Talisman of Souls
A still from Onyx the Fortuitous and the Talisman of Souls by Andrew Bowser, an official selection of the Midnight section at the 2023 Sundance Film Festival. Courtesy of Sundance Institute.
For those looking for a bit more brevity in their Sundance viewing, Midnight selection Onyx the Fortuitous and the Talisman of Souls fits that bill perfectly. Inspired by writer/director/star Andrew Bowser’s character known from the “Weird Satanist Guy” meme, this is a throwback horror-comedy blending elements of so many of the movies that hardcore genre cinephiles grew up with. In other words, it’s perfectly at home in Sundance’s Midnight lineup.
And these are just a few of the amazing films playing in the lineup! Other exciting films to look out for are Slow (World Cinema Dramatic), Sorcery (World Cinema Dramatic), Kim’s Video (NEXT), Rye Lane (Premieres — playing in-person only), and L’Immensità (Spotlight). Be sure to buy your tickets now before they sell out!
The 2023 Sundance Film Festival runs January 19-29 in-person in Park City, UT and January 24-29 online. By Sean Boelman  Many viewers likely recognize the first Infernal Affairs film thanks to its enormous legacy, but fewer cinephiles have gotten the chance to see and appreciate the two other movies in the original franchise. Criterion’s box set of the Infernal Affairs trilogy allows cinephiles to bring home all three films on Blu-Ray, or perhaps even discover them for the first time. The first Infernal Affairs is perhaps one of the most acclaimed movies to ever come out of Hong Kong — its story of a mole and an undercover cop trying to outwit each other and figure out whose allegiances lie where entertaining audiences worldwide. Thanks to a perfect whirlwind of Andrew Lau and Alan Lak’s direction, Andy Lau and Tony Leung’s acting, and a sharp script, it became a global sensation. The influence of Infernal Affairs has stretched internationally, to the point of inspiring Martin Scorsese’s Best Picture-winning crime saga, The Departed. Although the film had already received some recognition thanks to its warm critical reception, this remake catapulted it into the spotlight and cemented it as an important movie in cinematic history. Infernal Affairs would also kickstart a series in Hong Kong with two more feature films that had been much less widely available internationally until Criterion put out this box set. Infernal Affairs II, a prequel following the younger versions of the characters as they first embed themselves into the triad and the police force, the movie does lack the starring duo of Leung and Lau.  Leung and Lau would return for Infernal Affairs III, a true sequel to the first film, which was still not as acclaimed as the first movie but still very enjoyable. Released in the same year as Infernal Affairs II, this had all the potential of becoming an event trilogy a la The Matrix, but suffered the same fate of giving audiences too much too quickly.
All three of the films are presented in beautiful new 4K restorations that were released in theaters earlier this year. And while there are only a handful of new bonus features, the relative unavailability of the sequels in the United States means that these materials will largely feel brand new to audiences. Now that audiences across the world finally have the opportunity to easily access the remaining two movies in the Infernal Affairs trilogy, this Criterion box set is one that any cinephile will want to add to their shelves. Criterion has recently been showing a commitment to releasing important Hong Kong action cinema, and this was a natural progression. The Criterion edition of the Infernal Affairs trilogy is now available. Review by Sean Boelman  Bringing nonfiction cinema to viewers across the United States in a hybrid format for the third year in a row, DOC NYC returns with a 2022 edition that is even bigger and better than in years past. Featuring an extensive lineup of documentary films — from ones that have been picking up buzz on the festival circuit to smaller independent productions waiting to be discovered by audiences — there is something for everyone who loves watching docs. We, at disappointment media, are excited to again be covering the festival remotely. As we screen films in the lineup, we will continue to update this page with more thoughts about the films so that you can find something you want to watch in-person or at home via their virtual festival offerings. Cirque du Soleil: Without a Net Dawn Porter has made several acclaimed and successful civil rights documentaries over the past few years, so the subject of her newest film is rather surprising. However, Porter brings her same humanistic touch to Cirque du Soleil: Without a Net, which documents the iconic acrobat troupe’s return to performing live after the COVID-19 pandemic. Generally, the performers at Cirque du Soleil are hailed for their nearly inhuman abilities, but this documentary focuses on the people behind the costumes and spectacles. While this may be a relatively straightforward stagecraft story, Porter tells it in such a way that it is enormously compelling for fans and neophytes alike. Finding Her Beat Finding Her Beat tells the story of a troupe of women specializing in the Japanese drum performance of Taiko — a historically male-dominated artform. The mission of these women is extraordinary, and their performance skills impressive, but the film gets a bit too focused on their personal lives at times to be as captivating as it could have been. While the cutaways to the performers’ families are a welcome bit of grounding, the portion of the film that explores how the beginning of the COVID-19 pandemic almost affected their performance showcase feels unnecessary and ineffective. Loan Wolves Plenty of documentarians have attempted to ape the style of filmmakers like Michael Moore, who seamlessly integrates humor and wit into his political takedowns, but few manage to pull it off in a way that is satisfying. Blake Zeff’s Loan Wolves tackles an interesting and timely subject — the student debt crisis — yet all of the genuinely important things Zeff and his interviewees have to say are undermined by his constant attempts to make wisecracks. There’s definitely some worthy information to be found in this documentary, but Zeff’s apparent need to constantly prove himself to be hip is annoying at best and distracting at worst. The 2022 edition of DOC NYC runs in-person from November 9-17 and online November 9-27.
By Sean Boelman
In a rare move, a majority of the films released in the Criterion Collection this October were in the horror genre — although that doesn’t mean they departed from their usual auteur fare. One of the new highlights is J-horror legend Kiyoshi Kurosawa’s Cure, featuring a new 4K restoration of the film released by Janus Films theatrically earlier this year.
The movie follows a detective who investigates a string of unusual murders, where a suspect is found near the scene of the crime with no recollection of the events of the killing. It’s a structure that has been copied time and time again since — a detective unraveling a bizarre mystery with seemingly supernatural elements — but Kurosawa’s direction is so strong that it still holds up. One of the most unorthodox things about the film is its approach to its characters. The characters all feel distant and cold, which really gives it the feel of a procedural thriller over being a horror movie. Kōji Yakusho is excellent as the weary detective who has to unravel the truth behind what is happening. There aren’t many horror movies in the Criterion Collection, but Cure is absolutely an essential addition thanks to its role in globalizing the genre of J-horror. The film established Kiyoshi Kurosawa as a force to be reckoned with in international horror, and set the stage for other filmmakers, like Hideo Nakata or Takashi Shimizu, to enter the mix. 
This isn’t what audiences will be used to with horror movies in that it isn’t super scary, instead opting to create a sense of overwhelming dread. Even within J-horror, the film is pretty tame, dealing more in atmosphere than it does in being overtly disturbing — however, it will creep under the viewer’s skin.
Indeed, this slow burn allows the movie to be haunting to viewers and stick with them long after the credits roll. Much of this is due to Kurosawa’s exquisite direction and strong crafts, especially the cinematography by Tokushô Kikumura. There is definitely a reason that Kurosawa is hailed as one of the greatest filmmakers of his genre. The highlight of the bonus features is a new conversation between Kurosawa and fellow Japanese filmmaker Ryusuke Hamaguchi, who directed last year’s critical darling Drive My Car (which joined the Collection itself only a few months ago). The film also features some archive interviews and a booklet with an essay. For cinephiles looking for an expertly-crafted horror movie to add to their collection this spooky season, look no further than the Criterion edition of Cure. Although it’s a bit bare bones, it was difficult to find on home media for quite a while, so this is one you will definitely want to add to your shelves. The Criterion Collection edition of Cure is now available.
By Tatiana Miranda and Sean Boelman
One of the largest LGBTQ+ film festivals in the United States (and the world, for that matter), the 2022 edition of NewFest is back to take New York City by storm. Featuring a lineup of narrative features, documentaries, and short films made by LGBTQ+ filmmakers or featuring LGBTQ+ characters and themes, this is a showcase of some of the best queer films you will see all year.
We at disappointment media covered NewFest this year, both in-person and remotely. Here are some of our brief thoughts on some of the films we were able to see at the fest: Lonesome
Review by Sean Boelman
Craig Boreham’s Lonesome is being sold as a modern gay cowboy movie, and while it is about gay lads in the modern-day south, it shares more in common with Mysterious Skin than it does something like Brokeback Mountain. Boreham’s film has some good visuals, but it doesn’t have the story to back it up. Instead, what we get is a barrage of excessive and explicit sexuality and sexual assault. That isn’t to say that sex in film is a bad thing — but there is little point here other than exploiting gay trauma, and it’s just quite unpleasant to watch.
Nelly & Nadine
Review by Tatiana Miranda
Nelly & Nadine is Swedish director Magnus Gertten's third film centered around WWII. However, it isn't a documentary solely about the war, instead spanning across subjects such as family, love, and the LGBTQ+ identities of the past. More a love story than a war story, Nelly & Nadine depicts the lives of Nelly Mousset-Vos and Nadine Hwang, two women who meet at the Ravensbrück concentration camp in 1944. Told through the lens of Nelly's granddaughter as she unpacks the letters and photographs her grandmother left her, this documentary is heartfelt and eye-opening to the fact that love can persevere even in the worst conditions.
Please Baby Please
Review by Tatiana Miranda
Please Baby Please is a pleasant surprise, as it is marketed as a musical but is hardly that, with only one lone musical outburst hidden between the rest of the film's antics. The movie follows two newlyweds, Suse and Arthur, in 1950s Manhattan as they witness a gang's outburst of violence. This leads to a broader discussion between the two and their friends on the topic of gender roles, kinks, and sexuality. While those topics might seem entirely separate from the main plot, they are cleverly interwoven and portrayed by the cast of characters through fantasy sequences and intense monologues that captivate the audience.
The 2022 edition of NewFest runs October 13-25 virtually and in-person in New York City.
Review by Sean Boelman
The fall festival season is filled with so many great films that it would be impossible to find a regional fest that showcases all of the big contenders, but the Chicago International Film Festival comes pretty close. Featuring some of the best films you will see all year — with a large focus on international films — CIFF has something to see for every Chicagoan, and with this hybrid edition, will feature both in-person and virtual screenings.
We at disappointment media are again covering the Chicago International Film Festival, mostly via remote coverage (but we’ll be on the ground for one or two films). As we see more films, we will continue to update this article with our brief thoughts: Chile '76
Manuela Martelli’s Chile ‘76 is a portrait of a family in crisis, both externally and internally. Martelli and her co-writer Alejandra Moffat attempt to blend family drama with political turmoil, and the result is interesting if not entirely compelling. There is no denying how gorgeous the film is from a visual standpoint, and lead actress Aline Küppenheim is extraordinary in her role, but the film leaves something to be desired in terms of creating a feeling of suspense.
Return to Seoul
Davy Chou’s identity crisis drama Return to Seoul is a film having an identity crisis of its own. A primarily French production largely set in South Korea, the film ended up being the Cambodian submission to the Oscars for Best International Feature. However, regardless of what is considered its country of origin, it’s pretty good. The film tells the story of a woman who returns to her homeland after being adopted by a foreign couple soon after she was born in the hopes of reconnecting with her birth family. It’s a story we’ve seen done before, but Chou’s exquisitely tender direction and Park Ji-Min’s extraordinary performance go a long way.
Alcarràs
Alcarràs, the sophomore feature of filmmaker Carla Simón (Summer 1993), won the Golden Bear at Berlin earlier this year where it debuted to great acclaim. And while it is an all-around well-made film, it feels almost as if something was lost in translation. Following a family of Spanish peach farmers, the film is like pretty much any other slice-of-life film told from the perspective of a group of young children, with conflicts that we have seen dozens of times before. Simón’s direction is certainly very good — and the visuals are exquisite — but the narrative simply felt a bit too conventional to be impactful.
Close
Lukas Dhont’s Close made quite a splash at its debut at the Cannes Film Festival in 2022, where it won the Grand Prix and scored a distribution deal from A24. This story of two inseparable young friends whose friendship is suddenly torn apart is absolutely devastating, perhaps one of the most heartbreaking films of the year. The biggest highlight of the film is young actor Eden Dambrine, whose performance is compelling and nuanced in a way that will leave very few audiences with dry eyes.
The Novelist's Film
South Korean filmmaker Hong Sang-soo is known for his very prolific output, often putting out multiple films in a year. For 2022, he has two films — Walk Up, which premiered at TIFF and was not very good, and The Novelist’s Film, which debuted at Berlin earlier this year and is much better. Like the rest of Hong’s work, it is a very talky drama in which its characters chat about cinema, art, and literature while under the influence of soju. It may be slight, but Hong’s dialogue and character work are generally exquisite, and this is some of his best in both aspects.
The Woodcutter's Story
Finnish filmmaker is best known to this point as the co-writer of The Happiest Day in the Life Of Olli Maki, but now he makes his directorial debut with the satirical comedy The Woodcutter’s Story. The film follows a woodcutter as his idyllic, simple life begins to fall apart in a series of increasingly bizarre encounters. It’s quite an ambitious film, and for a directorial debut, it’s very accomplished and confident. While it would be impossible not to praise its gorgeous and often funny visuals, the film is an exercise in quirkiness without substance, often resulting in a film that doesn’t make a whole lot of sense.
The 2022 Chicago International Film Festival runs October 12-23.
By Sean Boelman
After the big fall festivals — Telluride, Venice, and TIFF — smaller, regional festivals tend to showcase some of the highlights that audiences will see pop up in awards season. The Chicago International Film Festival, as always, has a great lineup for 2022, featuring some of the best movies you will see all year. Here are some of the films we think you won’t want to miss:
EO
Jerzy Skolimowski’s EO is the type of film that you just have to experience, and you will never forget the day you saw it — whether you like it or not. Following a donkey who drifts through the world interacting with various people, it’s a modern take on Robert Bresson’s Au Hasard Balthazar. The message about animal cruelty is extraordinarily urrgent and impactful, but thankfully, the film is entirely sensitive and restrained with its approach. It’s a mind-blowing work of cinema that you won’t want to miss.
Corsage
Marie Kreutzer’s Corsage is the Austrian selection for Best International Feature, and it is one of the strongest contenders thus far. A gorgeous but slightly anachronistic biopic of Empress Elisabeth of Austria, the film is both a ton of fun to watch and engages nicely with its feminist themes. The crafts are some of the best of the year, and Vicky Krieps gives a career-best performance in the leading role, absolutely captivating the audience every time she is on screen.
All the Beauty and the Bloodshed
In addition to being a showcase for some of the Best International Feature submissions, CIFF also serves as a showcase for A-list contenders in other categories, such as Best Documentary. The presumed frontrunner in the category is All the Beauty and the Bloodshed, the newest film from director Laura Poitras (Citizenfour), and Chicago audiences will get the opportunity to see the film early at the festival. Functioning both as a biography of photographer and activist Nan Goldin and an exposé of the opioid epidemic, it’s a moving, harrowing documentary, much like the rest of the work Poitras has done in the past.
The Banshees of Inisherin
Although it will be opening in theaters pretty soon, don’t miss the chance to see Martin McDonagh’s The Banshees of Inisherin with an audience that can love it just as much as you. Boosted by two great performances from Colin Farrell and Brendan Gleeson and some gorgeous cinematography by Ben Davis, McDonagh is firing on all cylinders here with a pitch-black comedy about friendship. It’s much more subtle than McDonagh’s recent output but no less sharp.
Devotion
Top Gun: Maverick is the highest-grossing movie of the year so far, so the entire country has been left with the need for speed. Another Naval aviator drama has come along to fill that desire: J.D. Dillard’s Devotion. Based on the true story of Jesse Brown, the first Black fighter pilot to complete the U.S. Navy’s basic flight training program, it’s an inspiring watch. It is led by Jonathan Majors (in attendance to receive one of the festival’s top honors) and Glen Powell (who also starred in Top Gun: Maverick), who do an exceptional job in their roles.
This is just a sampling of the many films playing at the festival, and it was hard to narrow it down to just five recommendations. With several different sections offering some of the best fall cinema has to offer, you’re sure to find something to love.
The 2022 Chicago International Film Festival runs October 12-23. |
