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Examples
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Reviewing Tirante el Blanco (The Maiden's Conspiracy), Honor de Cavallería, La Dama Boba (Lady Nitwit) and Carnival Sunday so far, acquarello is our eye on the Spanish Cinema Now! series running through December 26 in NYC.
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"Javier Corcuera's The Back of the World is an understatedly observed, indelible, and provocative examination of the inextricable social cycle of poverty, exploitation, disenfranchisement, and disposability," writes acquarello.
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"Philippe Garrel's silent film Le R�v�lateur is a fractured and elliptical, but instinctive, elemental, and haunting rumination on the process of awakening, maturation, psychological trauma, and transformation of childhood memory," writes acquarello.
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Update, 3/4: "Channeling the spirit of Krzysztof Kieslowski's Red in its suffusive evocation of longing and synchronicity," writes acquarello, "Xavier Giannoli's The Singer is an intelligently rendered, understatedly resonant, and refined portrait of the often bifurcating trajectories of existential and emotional intersections."
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For acquarello, "The Ceremony is a provocative and excoriating satire on the amorphous nature of modern Japanese identity that could only have been forged in the wake of Nagisa Oshima's increasing disillusionment with the impotence of the left movement."
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"While James Benning's 13 Lakes captures the materiality, self-equilibration, and memory of water," writes acquarello, "the film's equally rigorous and abstractly hypnotic companion piece, Ten Skies, illustrates the mutability, ephermerality, and transience of nature."
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The characters of Colossal Youth live "in the ever eroding margins of the visible, struggling to emerge from the liminal before receding into the shadows," writes acquarello.
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Earlier: acquarello, Daniel Kasman and, in Slant, Ed Gonzalez.
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"José Luis Cuerda's The Education of Fairies is a slight and effervescent, but charming and thoughtful demythification of a" happily ever after "romantic ideal," writes acquarello.
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"Maureen Turim's The Films of Nagisa Oshima: Images of a Japanese Iconoclast, presents an intelligent, comprehensive, articulate and illuminating critical evaluation of the filmmaker's subversive, transgressive, confrontational and provocative body of work," writes acquarello.
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