The saga of MGK‘s formerly rock, now pop-punk album continued a few weeks ago. The film follows a teen from the suburbs who is under the guidance of his college dropout best friend (Davidson) and his buddy (MGK). Though ostensibly a reflection of small-town Kazakh life, Cohen’s vision of Kazakhstan is really an elaborate amalgamation of various Warsaw Pact countries, including Russia and Poland, and though Borat himself would be loath to admit it, his incomprehensible language draws inspiration from Romani and Hebrew. A more interesting question: Why do we flock to films that revel in what is, in all likelihood, our greatest fear? One becomes accustomed to the film’s initially annoying incorporation of social media language into its aesthetic, such as the emojis that pop up on the screen whenever Alice does something or other, because it mirrors the interface through which contemporary teenagers animate everyday life. 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Weekes paints a rich portrait of the migrant experience, accounting for the inextricable nostalgia for home and the impulse to conform and cut ties with the past. The solution is obvious: to present Pence with his underage daughter instead—which he does, albeit from a distance, dressed as Donald Trump while Pence delivers a speech at the Conservative Political Action Conference. The newest trailer gives us a good look at the parties, punishment and persistent comedy that mad Big Time Adolescence such a hit in the first place. The fallout of the main characters’ actions feels perfunctory and tossed-off in the rush to an ending. Movies, Reviews,Trailers,Interviews and News, A monthly event... LAFeedbackFilmFestival.com, "Find what you love and let it kill you." The feature-length Madre presents the aftermath of traumatic loss in all of its ambiguity—how what we lose revisits us in disguise, how from the outside this haunting can appear, as more than one character refers to Elena, “psycho.” By projecting her despair into the landscape, Sorogoyen shows us her grief inside out, where it cannot be judged, only witnessed. No critic has written so perceptively about Anderson’s mutating aesthetic as Nayman does in Masterworks. Local bullies torment Robyn, the English outsider, as they act out their fantasies of wolf slaughter, but there’s not quite enough backstory here for us to be sure whether these kids inherited their wolf anxiety unfairly or whether it’s justified by the wolves’ occasional viciousness. Throughout Raw, director Julia Ducournau exhibits a clinical pitilessness that’s reminiscent of the body-horror films of David Cronenberg, often framing scenes in symmetrical tableaus that inform the various cruelties and couplings with an impersonality that’s ironically relieved by the grotesque intimacy of the violence. It’s a provocative juxtaposition for Dry Wind to stage its queer kinkfest at the epicenter of the land of Bolsonaro. On There Will Be Blood, he notably writes the following: “Emerging and descending at his own methodical pace, he’s an infernal figure moving in a Sisyphean rhythm, and the trajectory of his movements—grueling ascents and sudden, punishing drops along a vertical axis, punctuating an otherwise steady horizontal forward progress—establishes the visual and narrative patterning of the film to come.”. He kept having to go over the letter to make it look real. There’s an explicit current of self-loathing running through this amazing collection of films. Pretty quickly, Robyn is feeling the effects of that wolf bite—she’s now also a wolfwalker—and she’s eager to help Mebh find her missing mother and save their pack from Bill and the ever-angrier mob of wolf-hating citizens. Outside the city’s walls, the forest is inundated with them, and the Lord Protector (Simon McBurney) needs to put his farmers safely to work. When Oskar (Kåre Hedebrant), a 12-year-old outcast perpetually bullied at school, meets Eli (Lina Leandersson), the mysterious new girl at his apartment complex, one child’s painful coming of age is conflated with another’s insatiable bloodlust. Abandon hope all ye who watch here.
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