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53rd NYFF. CEMETERY OF SPLENDOUR BY APICHATPONG WEERASETHAKUL (ENG)

By Tanner Tafelski

Joe shows his claws. His languid Cemetery of Splendour, his first feature since Uncle Boonmee Who Can Recall His Past Lives, is a quiet scream. It’s a comment on Western society’s tainting influence on Thailand, on its history. It’s not for nothing that Weerasethakul sets Splendour in and around a hospital (and former school and, before that, a cemetery for kings) where sickness is ever present.

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53rd NYFF. ARABIAN NIGHTS PART 3: THE ENCHANTED ONE BY MIGUEL GOMES (ENG)

By Tanner Tafelski

At long last, along comes Scheherazade, and it’s a bit of a letdown. She appears in the first of three episodes. She’s in a section that’s untethered, that doesn’t have the structural rigor of “The Owners of Dixie” or “The Tears of a Judge” from part two. Before telling a story to her husband, the king Shahryar, in order to delay his intent to kill her, she crops up in Bagdad as well as wandering on an isle. The section is seemingly endless in variety so that you wonder where she’ll be next and with whom? Wait for the next scene to find out.

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53rd NYFF. ARABIAN NIGHTS PART 2: THE DESOLATE ONE BY MIGUEL GOMES (ENG)

By Tanner Tafelski

What a jump in quality! With this second part, Miguel Gomes seems more focused. He settles into his material. He’s comfortable enough to allow room for silence, for pauses, lingering on shots instead of hurrying to the next one, and the next.

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53rd NYFF. ARABIAN NIGHTS PART 1: THE RESTLESS ONE BY MIGUEL GOMES (ENG)

By Tanner Tafelski Sprayed on a wall near the end of the first part of Gomes’ epic film is the graffiti message: “Chaos is my life.” Shortly, after a countdown, that cryptic statement blasts on the soundtrack. It’s the title of a song by the Scottish punk band, The Exploited, which could work as both…

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52 NEW YORK FILM FESTIVAL: OVERVIEW #3 (ENG)

The unique shooting style employed by the Dardennes, perhaps mimicked by other filmmakers, but never surpassed, is often described as naturalistic, but that definition undermines their seemingly simple yet complex approach to capturing realism. Every director may come face-to-face with the limitations of documentary aesthetics, but the Dardennes have offered their own solution to this possible quandary: they allow the viewer to recognize the allegory embedded within each film, giving the viewer the ethical freedom to choose.

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52 NEW YORK FILM FESTIVAL: OVERVIEW #2 (ENG)

By Tristan Pollack Teshigahara

Alice Rohrwacher (born in 1980) is a talented emerging filmmaker hailing from Tuscany, Italy. She (along with Mia Hansen-Love, Ramon Zürcher, Josh and Benny Safdie and Ryan Coogler just to name a few) belong to an ever-changing group of young filmmakers who are rapidly changing the game of what it means to make an independent film.

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