The fact that Wang Bing's films are now censored in China is not just a travesty, but frankly incredulous to me after watching this film. In drawing attention to the distance between the viewer and the textile factory workers that are the film's subjects, Wang is able to present their humanity in an even more multi-faceted way, as he follows them out of the workplace and into their homes.
— EBM Film Center, followed by a Q&A with Wang Bing
A free-spirited stroll down the avenues, parks, and cafés that made up James Baldwin's time in Paris, that opts to evoke the newfound sense of purpose and clarity he achieved during his time in the city instead of anything more paint-by-the-numbers biographical. Charming!
— EBM Film Center, followed by a Q&A with cast & crew
Oppenheimer definitely feels like 3 hours, yet it earns its runtime by the end. What starts out as a startlingly trite biopic gradually morphs into something nightmarish and lyrical, as Nolan’s camera scrutinizes the titular scientist with increasing intensity.
The cinematography brings to life Oppenheimer’s vision of the world in all its beauty and bleakness, while deafening sound design and Ludwig Göransson‘s score prove capable of suspending and overwhelming in equal measure.
The script is Nolan’s talkiest one, and it’s held…
A decently-executed thriller that’s nonetheless bogged down by its myriad of unfocused storylines and paper-thin characterization. More egregious is its sensationalistic treatment of the real-life suffering of Chinese victims in Northern Myanmar as a source of spectacle, presenting gratuitous violence while only paying lip service to the underlying political and cultural dynamics.
—Beijing U-Town Bona & IMAX Theatre, with mom
