Moviegoers have been treated to a slew of fantastic blockbusters, indies, and documentaries. They demonstrated that filmmakers are constantly inventing new ways to thrill, excite, and enlighten audiences.
Christopher Nolan produced a stunning panoramic depiction of the massive event. It first raised the possibility that Hitler would not be able to coast to victory in World War II.
To be sure, the film’s realism and physicality are remarkable. Nolan told his story in a way that surprised. This is how he told: in scattered vignettes set on land, sea, and air, with no pre-packaged heroism or emotion. It’s a remarkable modern film in which the dialogue could be cut without losing any of its context or effect.
The Shape of Water
Guillermo del Toro was without a doubt the most visible and outspoken director on the fall festival circuit this season, and the stunning film he brought with him offered plenty of fodder for discussion.
It features a silent heroine, played by Sally Hawkins. In the almost equally fine Three Billboards Outside Ebbing, Missouri, her strength and resoluteness were only rivaled this year by Frances McDormand’s.
Finally, by the finesse, del Toro’s delightfully limitless film geekery is balanced . In the channels his obsessions in this film.
Agnes Varda, a founder of the French New Wave is 89. But in this clandestine report from the front in France we seldom see, she still has her ear to the ground. She has her eye sharp as ever.
The film starts out as a jovial road movie. In this, Varda and co-director JR plaster large posters of the latter’s photographic portraits of common citizens around the countryside. The film evolves into an amiable yet disturbing portrayal of the country’s by-passed and disenfranchised.
Varda is rudely stood up by her old friend Jean-Luc Godard in a late scene that is unforgettable.
The movie is about the midst of a doctor’s initially earnest attempts to get his bright daughter into a British university. The decades of bureaucratic rot still pervades all in professional and personal life. Every sense of idealism and optimism is systematically cut down to size.
The director’s has the ability to shift his tale from a purely human to a social one. This almost imperceptibly remains impressive.