Following his mesmerizing religious guilt eco-thriller “First Reformed,” Schrader continues his “man-in-a-room” trope with this intriguing look at a gambling war veteran (Oscar Isaac) who attempts to talk the son of his old war buddy (Tye Sheridan) out of exacting revenge on a man who destroyed their lives. EK “The Card Counter” (Venice)Īt 75, veteran director Paul Schrader shows no sign of slowing down or changing directions.
Here’s hoping “Il Buco” keeps that tradition alive just as cinemas reopen to embrace it. (There’s also a central role for an elderly Calabrian shepherd, which suggests that like “Le Quattro Volte,” sheep will play a central role.) Frammartino’s filmmaking is pure existential immersion: His movies are quiet journeys that begin with modest visuals that transform into broader revelations with time.
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Once again eschewing dialogue for stunning natural beauty, “Il Buco” adapts the true story of cave scientists who studied the third-deepest cavern in the world in 1961.īlending documentary imagery with the stunning wonders of the ancient countryside, the movie is said to once again explore the cosmic relationship between all forms of life and the resilience of the planet that sustains it. It’s been over a decade since Italian filmmaker Michelangelo Frammartino wowed festival audiences with his absorbing, metaphysical cinematic tone poem “Le Quattro Volte,” and the time couldn’t be better for him to deliver another big-screen wonder. With a bevy of top-notch documentary producers (including Brazilian Oscar nominee Petra Costa), “Beba” promises to reignite conversations about race and class among American-born Latinx individuals eager to see their struggles represented onscreen.
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A self-portrait of a Latina woman of mixed heritage, “Beba” finds Huntt musing on her family’s Dominican and Venezuelan backgrounds as well as how they inform her identity as she navigates an American society unsure exactly where to place her.Īs a Bard College student, she’s forced into an environment that judges her based on her skin color even when it claims otherwise. One of the potential breakouts of this year’s TIFF documentary lineup, “Beba” marks the debut of director Rebeca Huntt, and puts her on camera at the same time. The Cannes premiere will screen at both TIFF and NYFF before a theatrical release in October. In other words, Hansen-Løve’s film isn’t really an homage to Bergman at all - at least not one that worships at his altar with the kind of orthodox piety required for Paul Schrader to refract “Winter Light” into “First Reformed.” While the iconic Swedish artist is amusingly inescapable in “Bergman Island” (his films are name-checked in almost every scene, many of which take place on the exact spots where they were shot or in the house where he wrote them), this supple puzzle-box is more interested in him as a means to an end.
Set on the remote skerry in the Baltic Sea that Bergman adopted as his home and began to terraform with his artistic persona after making “Through a Glass Darkly” there in 1961, Hansen-Løve’s zephyr-calm story of loss, love, and artistic reclamation draws such an extreme contrast to the scorched Earth films that have become synonymous with Fårö that even its nighttime scenes reveal the shadows that fiction has the power to cast across reality. “Bergman Island” (TIFF, NYFF)Ī triple-layered meta-romance about a filmmaker who flies to Sweden with her partner and pitches him a screenplay about her first love - Mia Hansen-Løve’s “Bergman Island” is such a rare and remarkable movie for the very same reason that you wouldn’t expect it to exist in the first place. Zack Sharf, Ryan Lattanzio, and Tambay Obenson contributed to this article. That includes a robust selection of new films rolling out through the next few weeks, including works from perpetual festival favorites like Pedro Almodóvar, Paul Schrader, Paolo Sorrentino, Joanna Hogg, Joachim Trier, and Sean Baker major events from the likes of Denis Villeneuve, Edgar Wright, and Julia Ducournau and newly minted awards contenders from Jonas Poher Rasmussen, Ridley Scott, and Pablo Larrain.Īhead, IndieWire picks through the Venice (September 1 – 11), TIFF (September 9 – 18), and NYFF (September 24 – October 10) slates to highlight the best of the best.
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