Anora (2024) | REVIEW

Mikey Madison as the title character in Sean Baker’s ANORA — PHOTO: Neon (Still image from trailers).

Directed by Sean Baker — Screenplay by Sean Baker.

When Sean Baker walked up to the stage to accept the Palme d’Or prize at this year’s Cannes Film Festival, he stood next to George Lucas, who had just received an honorary award. There the legendary creator of Star Wars, essentially the blockbuster film that changed the direction of American cinema for the next many decades, stood next to perhaps the most well-known American independent filmmaker who was enjoying the biggest moment of his career with his latest film, Anora. Arguably, no two filmmakers could better symbolize the vast breadth of American filmmaking, and here Baker was becoming the first American competitive Palme d’Or winning director in more than a decade (since Malick in 2011). Frankly, for Baker, Anora marks arguably his feature with the most public appeal. 

Continue reading “Anora (2024) | REVIEW”

Should Netflix Films Be Eligible for the Oscars? – Special Features #21

I have reviewed many Netflix films, and I really enjoy doing that. These are films that are, in most cases, released at the same time for everyone everywhere. That is genuinely a good consumer-friendly distributing system. Sure, some of these films are godawful, but sometimes among the ‘Netflix films of the week’ something truly special appears on the streaming service. Continue reading “Should Netflix Films Be Eligible for the Oscars? – Special Features #21”

REVIEW: The Square (2017)

Theatrical Release Poster – Magnolia Pictures

The following is a review of The Square — Directed by Ruben Östlund.

Had you told me in the beginning of the year that a Swedish film about a Dane looking for his stolen smartphone while he has to take part in discussions about the amorphous nature of ‘the exhibitable’ at an art museum, then I probably wouldn’t have known whether to laugh or cry. Continue reading “REVIEW: The Square (2017)”