"When you start watching One More Time with Feeling, you are suddenly dropped into the eye of a creative storm that began after the death of Arthur Cave, one of Australian rocker Nick Cave's two sons. This deeply moving concert doc concerns that loss... One More Time with Feeling is a uniquely cinematic documentary, one that actively blurs the line between fact and fiction. Sometimes the camera drifts through solid surfaces, including people, doors and walls. Sometimes it snakes around Cave while 2D videographers film Dominik at work. Once or twice, voiceover narration of Cave's innermost thoughts—recorded after the events filmed—give us a hyper-real window into his thought process. This isn't really a movie about creativity, though it is that, after a fashion. Instead, this is a movie about the pause before the end of a creative obstacle." - Roger Ebert
"The Passenger," arguably Mr. Antonioni's greatest film, follows a man, played by Jack Nicholson, who has deliberately gone missing, abandoning his wife, child, friends and job. In essence, "The Passenger" is about a man on the run from himself, as well as a further exploration of a feeling, a mood, that Mr. Antonioni had, in discussing "L'Avventura," described with elegant simplicity: "man is uneasy, something is bothering him." - Manohla Dargis, The New York Times
Bill Morrison’s new film is a history in still and moving images charting the transformation of Tr’ochëk, a fishing camp at the confluence of the Yukon and Klondike Rivers, into the epicenter of the Yukon gold rush at the turn of the last century. It is also a history of the 35mm film prints that were shipped to Dawson between the 1910s and 1920s, then hidden away and forgotten for 50 years until they were unearthed in the initial stages of a construction project, images from which are a key element in Morrison’s cinematic mosaic. Like all of Morrison’s work, Dawson City is a haunting experience that takes place in suspended, nonlinear time.
"The success of Purple Noon is that underneath a beautiful film lies a film noir. Director René Clément, much like Delon’s Ripley, turns on the “full sun” of the title to obscure the things going on under the surface. Instead of the shadow-painted alleyways of the noir, Clément films the confidence game of Ripley in its inverse: scalding daylight. Visually, Purple Noon may be an “anti-noir”, but in every other way it lives up to the noir genre’s tropes: it turns sunlight into shadow, the obvious into the unknown." - Brice Ezell
"This tender portrait of late-1960s French youth stars Louis Garrel as Francois, a 20-year-old Parisian struggling through the fires of revolutionary promise and its smoldering remains. Written and directed by his father, the celebrated auteur Philippe Garrel, the film begins with a handful of gangling young men sharing a pipe filled with hashish and talking poetry. The beauty of the film - the shimmering black-and-white tones and the purity of the compositions, at once austere and harmonious - suggests that the director sees this layover less as a retreat to narcissism than as a necessary journey into the self. And while the film's desperately sad finale indicates that Philippe Garrel knows the truth of '68 better than most and might have suffered a crisis in faith in the years since, this magnificent film is itself proof that all was not lost." - Manohla Dargis, The New York Times