This is a completely enjoyable film by Sofia Coppola, led by Rashida Jones’s strong, awkward and likeable characterisation of an every woman who realises she has unknowingly transitioned from exciting and sexy to boring and frumpy in the eyes of her husband.
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I was reminded of the quiet, rural drama of Dark River (2017) while watching this intense and satisfying dive into fundamentalism. It has some predictable beats but introspective camera work and a strong performance from Alice Englert help it transcend cliches.
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The story of Katia and Maurice Krafft was made for a documentary like this. In the 70s and 80s, they were feted as the only volcanologist couple, bound by their love for each other and of trying to understand active volcanoes.
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Florence Pugh is becoming my go to star as just about any movie she is in seems made better by her presence.
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You don’t have to be in aspiring thespian (or the parent of one) to enjoy this warm, funny debut feature from Molly Gordon and Nick Lieberman.
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I find Kelly Reichardt’s films serenely meditative, particularly when the narrative drive is a gentle one, like with Old Joy (2006) and Wendy and Lucy (2008).
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This Canadian feature by Ally Pankiw is funny, moving, and a great vehicle for Rachel Sennott’s particular style of flinty, self deprecating comedy.
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I was intrigued to see Alice Englert’s first feature, particularly as it’s stars Jennifer Connelly and Ben Whishaw and, hopefully, the New Zealand people and landscape.
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Sometimes you want a horror experience that’s visceral and uncomplicated and the debut feature by South Australian directors Indianna Bell and Josiah Allen gives that in spades.
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