Author: Patrick Preziosi

Patrick Preziosi is a freelance critic from Brooklyn, NY. He’s written about film, music and literature for photogénie, Ultra Dogme, Metrograph Edition, Little White Lies, America Magazine, and Screen Slate.

Categories
MUBI Review

EMA

Ema (Pablo Larraín, 2019), MUBI, Chile, colour, sound, 107 minutes, Ema (Mariana Di Girolamo), Gastón (Gael García Bernal)
Ema (Pablo Larraín, 2019), MUBI, Chile, colour, sound, 107 minutes, Ema (Mariana Di Girolamo), Gastón (Gael García Bernal)

Pablo Larraín couches conventionality in otherwise vibrant cinematic tricks

Categories
Review

CAMINO SKIES

Camino Skies (Noel Smyth and Fergus Grady, 2019), Curzon Home Cinema, Australia / New Zealand, DCP, colour, sound, 80 minutes
Camino Skies (Noel Smyth and Fergus Grady, 2019), Curzon Home Cinema, Australia / New Zealand, DCP, colour, sound, 80 minutes

Fergus Grady and Noel Smyth’s polite travelogue fails both its setting and subjects

Categories
Review

NEVER RARELY SOMETIMES ALWAYS

Never Rarely Sometimes Always (Eliza Hittman, 2020), Focus Features, USA, 16mm, colour, sound, 100 minutes, Autumn (Sidney Flanigan)
Never Rarely Sometimes Always (Eliza Hittman, 2020), Focus Features, USA, 16mm, colour, sound, 100 minutes, Autumn (Sidney Flanigan)

Eliza Hittman’s startling empathetic feature is one of rigorous restraint, channeling its importance within the smallest gestures

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Review

SYSTEM CRASHER

System Crasher / Systemsprenger (Nora Fingscheidt, 2020), Germany, colour, sound, 125 Minutes, Bernadette "Benni" Klaaß (Helena Zengel)
System Crasher / Systemsprenger (Nora Fingscheidt, 2020), Germany, colour, sound, 125 Minutes, Bernadette "Benni" Klaaß (Helena Zengel)

Combustible, if predictable, Nora Fingscheidt anchors her debut in one truly nerve-shredding child performance

Categories
MUBI Review

THE WILD GOOSE LAKE

The Wild Goose Lake / Nan Fang Che Zhan De Ju Hui / 南方车站的聚会 (Diao Yi’nan, 2020), MUBI, China, DCP, colour, sound, 113 Minutes, Ge Hu (Zenong Zhou)
The Wild Goose Lake / 南方车站的聚会 (Diao Yi’nan, 2020), MUBI, China, DCP, colour, sound, 113 Minutes, Ge Hu (Zenong Zhou)

Diao Yi’nan tempers the surrealist violence of his latest neo-noir film with knotty and fascinating social undercurrents

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Essay

AGEING AT THE MOVIES: THE IRISHMAN, WELCOME TO MARWEN & THE MULE

The Irishman (Martin Scorsese, 2019), Netflix, USA, 35mm, colour, sound, 209 minutes, Frank "Irish" Sheeran (Robert De Niro)
The Irishman (Martin Scorsese, 2019), Netflix, USA, 35mm, colour, sound, 209 minutes, Frank "Irish" Sheeran (Robert De Niro)

Do the Old Guard of American filmmakers have anything left to say? More than most, it turns out

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Review

RICHARD JEWELL

Richard Jewell (Clint Eastwood, 2019), Warner Bros., USA, DCP, colour, sound, 131 Minutes, Watson Bryant (Sam Rockwell), Richard Jewell (Paul Walter Hauser)
Richard Jewell (Clint Eastwood, 2019), Warner Bros., USA, DCP, colour, sound, 131 Minutes, Watson Bryant (Sam Rockwell), Richard Jewell (Paul Walter Hauser)

Fascinating and infuriating in equal measure, Eastwood’s film pushes the director’s late preoccupation with everyday heroes into new territory

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Review

DARK WATERS

Dark Waters (Todd Haynes, 2019), Entertainment One, USA, DCP, colour, sound, 126 minutes, Rob Billot (Mark Ruffalo)
Dark Waters (Todd Haynes, 2019), Entertainment One, USA, DCP, colour, sound, 126 minutes, Rob Billot (Mark Ruffalo)

Todd Haynes injects the legal thriller with subtle artistry and palpable dread

Categories
Netflix NYFF Review

WASP NETWORK

Wasp Network (Olivier Assayas, 2019), Netflix, France/Spain/Belgium, DCP, colour, sound, 123 Minutes, Rene Gonzalez (Edgar Ramírez)
Wasp Network (Dir. Olivier Assayas, 2019), Netflix, France/Spain/Belgium, DCP, colour, sound, 123 Minutes, Rene Gonzalez (Edgar Ramírez)

An atypical dud from Olivier Assayas, fascinating only for its flaws

Categories
NYFF Review

PARASITE

Parasite / Gisaengchung (Bong Joon-ho, 2019), Curzon Artificial Eye, South Korea, DCP, colour, sound, 132 Minutes, Ki Taek (Kang-ho Song)
Parasite / Gisaengchung (Bong Joon-ho, 2019), Curzon Artificial Eye, South Korea, DCP, colour, sound, 132 Minutes, Ki Taek (Kang-ho Song)

Bong offers a rigorous class-system takedown disguised as a serpentine thriller