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  • The Blond One

    The Blond One

    ★★★★

    Tension has become a trademark in Marco Berger’s work. You’re aware going into one of his films that the will-they won’t-they suspense will drive the narrative. The spaces in his films brim with silence, allowing the restless expressions in his characters’ faces do the talking. The point is not to make it seem like words are irrelevant—on the contrary, it is when his characters come clean that you realize the power of just talking. It is fitting then that The…

  • Memories of My Body

    Memories of My Body

    ★★★

    “My body is like a battlefield where the opponents fight one another,” proclaims acclaimed dancer and choreographer Rianto midway through Garin Nugroho’s newest film. He’s not only the narrator, but the story is also based in his own life. Indeed, the constant struggle that Juno, Rianto’s fictional representation, experiences with gender is the driving force for the aptly titled Memories of My Body.
    Full review on Much Ado About Cinema

  • Petra

    Petra

    ★★

    The search for one’s origin can be unyielding. A quest for belonging, for understanding of who we are and why we exist. It could be difficult for people who have never questioned where they came from to grasp how profound doubt is present in the everyday life of someone that’s missing a key piece of their identity. Bloodline is the thematic element that ties multiple parts in Jaime Rosales’ Petra.
    Full review on Much Ado About Cinema

  • Rojo

    Rojo

    ★★★½

    The dirty war in Argentina that took place from 1974 to 1983 was one of the deadliest of the many inhumane US-backed right-wing crusades that have transpired in Latin America. In the interest of protecting occidental and christian values, many working class people suffered at the hands of a cowardly government that turned their back against them in favor of dollar bills.
    Rojo, Benjamín Naishtat's third feature and his most accessible yet, opens with a long shot of a house…

  • Roma

    Roma

    ★★½

    Going into Roma, the new film by Oscar winner Alfonso Cuarón, my expectations were quite high. It wasn’t only because he happened to be my favorite director growing up (and is still my favorite out of the three amigos), but finding out this was his comeback to México made me ecstatic. Call it Mexican pride, but I’ve always preferred the works he made here over his mainstream American ones. I’m afraid my anticipation might have clouded my judgement when I…