DoPe Press

Reviews – Paris-LA

CLOSE, Lukas Dhont’s deeply felt new feature, portrays the fraught passage from childhood to adolescence—from an age of blind trust to one of knowledge and suspicion—as lived by best friends Léo and Rémi. Fresh from a summer spent investigating the

NO BEARS—written, directed, and produced by Jafar Panahi, the great image smuggler of contemporary cinema—is an astonishing examination of narrative responsibility and the consequences of visual depiction. Set in a rural Iranian border town, Panahi is directing—remotely, via computer—a film

Although the art writer and professor Richard Shiff didn't meet Jack Whitten until 2014—three years before the artist's death—the personal encounter proved critical to both Shiff’s practice and our understanding of Whitten's work. Over the past decade, with imaginative lucidity

WOMEN TALKING—Sarah Polley's remarkable new feature—is set among the women and children of a Mennonite community in the immediate aftermath of a series of sexual assaults and violations against them. The victims—even a child was raped—wake from a drugged sleep

In her essay “A Century of Cinema,” Susan Sontag addresses a second Golden Age of film which began in the mid-1950s and lasted nearly two decades, when “vanguard ideas took hold again”—mostly in Europe and Asia—and “a dazzling number of

“Regeneration”—in the 1923 silent “race” film that shares its title—is an imaginary island of castaways who have discovered a treasure chest on its beachfront. As a concept, regeneration—which suggests both a renewal of potentialities as well as a return—also informs

Matthew López’s THE INHERITANCE—at the Geffen Playhouse in a production directed by Mike Donahue—is inspired by E. M. Forster’s 1910 novel Howards End. A cursory awareness of “Morgan” Forster’s position in literary history and the queer pantheon is useful. After

Alienation, drift, and humidity define Claire Denis’ STARS AT NOON, which follows an American activist-journalist at the end of her rope played with great emotional investment by Margaret Qualley. Trapped in a tense if not war-torn Central American country on

Early on in the explosive new sight and sound spectacle MOONAGE DAYDREAM—a kaleidoscopic, experiential take on David Bowie’s art and philosophy by documentarian Brett Morgen—footage of the transcendent performance of “Wild-Eyed Boy from Freecloud” and its segue into “All the

Taciturn, gloriously reptilian, and profoundly alone, María (Teresa Sánchez) runs her rural Jalisco tequila factory with a stern butchness that cannot forestall a series of events that threaten everything she's worked for. A plague is wiping out her agave crop,