The Film Society of Minneapolis-St. Paul
Tobe Hooper’s ruthless 1974 shocker isn’t just one of the greatest horror movies ever made, it’s also one of the most powerfully terrifying. Not in the way that jumps out at you and gives you those mechanized, cattle-prod starts once every 10 or 15 minutes, but rather in the way that crawls under your skin and turns it jaundiced and greasy with fear.
Sometimes it takes months and months for movies that play the Minneapolis-St. Paul International Film Festival to show up in general release in the Twin Cities. Even more often, films from the festival roster don’t show up again at all. And then every once in awhile an MSPIFF selection pops into theaters in a matter of days.
Clocking in at under an hour, An Arctic Space Odyssey traces the story of a group of men who worked for a year on a satellite station on an island that could be considered the […]
What makes Ilo Ilo more than just another family drama is the nuance with which writer/director Anthony Chen builds his characters. While each one appears based on a stereotype (the commanding mother, the shy maid, the troublesome son), they also have certain flaws or attributes that make them, as individuals, appear much more human than the usual fare that alights in family dramas, which are so fatally prone to melodrama.
That’s not Thom Yorke on the, ahem, “Motion Picture Soundtrack” for How to Disappear Completely. It’s the spare, oddly dispassionate beats of Eyedress, which lace Raya Martin’s dark and foreboding mystery with an aura of […]
Directed by Stephanie Spray and Pacho Velez but supervised by Lucien Castaing-Taylor (whose Leviathan was among last year’s most memorable films, documentary or otherwise), you might say that nothing happens in Manakamana. Or you could […]
Since antiquity, humankind has dreamed of a library robust enough to store, and distribute, all of our accumulated knowledge. And with every technological step forward in publishing, thinkers have dreamed of how that vast well of information, if easily available to common people, could change the world.
Władysław Pasikowski’s Aftermath, a work of fiction, was met with outrage by some of the Polish media upon release. It was even labeled by some as anti-Polish for suggesting that some citizens may have been more than complicit with the Nazis during the occupation. Set in the past decade, the film tells the tale of two brothers, one who left 20 years earlier to work as an asbestos remover in Chicago, while the other stayed in Poland to run the family’s farm.
I never understand why some people object to movies wherein the surface is the primary element and the rest is not necessarily subjugated but at least is entirely informed by that element. But there is admittedly something to be said for discipline.
Rippling, oozing, flowing: Concrete Night is moody Finish noir film awash in smoke and liquids. Submerged at the start, the camera shows us the main character, a teenage boy named Simo (Johannes Brotherus), struggling in a dream sequence to swim […]
It’s a little difficult to recommend today’s selection if you aren’t already familiar with the films of South Korean master Hong Sang-soo. Like many auteurists’ pet faves, he tends to allow elements and themes to flow freely between his films, and the result is a body of work that’s greater than the sum of its parts.
Making a movie is tough. Making a movie in India is tougher. Making a movie in India while living in the shadow of your legendary father David Lynch is – as Larry David may put it – pretty, pretty, pretty, pretty tough. But director Jennifer Lynch was up for the task, and allowed an Australian documentary crew intimate access to her life (at that of her pre-teen daughter Sydney) while undertaking the production of the Bollywood horror flick Hisss in 2008.
Italian filmmaker Roberto Minervini has created one of the most gorgeous and subtle films on Christianity in America that I’ve ever seen. Using real-life goat farmers from rural Texas, his film both documents a lifestyle and explores the complications […]
I know it’s perpetually bad form to criticize the critics when it comes to covering festival movies, but sometimes it’s inevitable when it feels like critics are the only ones talking about a given film. But to hear people accuse “Closed Curtain” of being self-pitying, well, cry me a river.
While at this time last year, very few people had likely heard the name Solomon Northup (the victimized protagonist of the Oscar-winning 12 Years a Slave), it’s a safe bet far fewer still had ever heard of Dido Elizabeth Belle Lindsay.