Luca Guadagnino’s After the Hunt feels like a refined, grown-up version of a campus drama, a kind of Ivy League Dawson’s Creek dressed in philosophical debates and moral tension. Set among Yale’s elite, the story unfolds with beauty and restraint,… Continue Reading →
Roofman is a quietly ambitious film, beautifully shot (on 35 mm by Andrij Parekh) with a restrained visual style that rarely calls attention to itself. In it’s form, it is technically solid, though seldom ambitious in its cinematography. The film… Continue Reading →
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