On Netflix Aug. 24th
Created by Simon Duric & Hania Elkington
David Procter | Director of Photography
THE MISEDUCATION OF CAMERON POST
In Theaters Aug 3rd
Directed by Desiree Akhavan
Jonathan Montepare | Producer
Sara Shaw | Editor
ADIDAS | Create The Answer
Directed by Giorgio Bruni
Fran Thompson | Producer
Charlotte Woodhead | Producer
SPECIAL OLYMPICS | Dare To Sponsor
Directed by Norman Bates
Björn Charpentier, SBC | Director of Photography
Paul Schrader’s best movie in years stars Ethan Hawke (in one of his finest roles) as an upstate New York priest who faces a crisis of faith as he attempts to help out a pregnant woman and learns of an ecological conspiracy behind his church’s main benefactor. The movie’s taut, suspenseful narrative remains in the confines of its protagonist’s perspective as his grip on reality slowly comes unraveled, leading to a shocking finale that forces its audience to grapple with its potent themes from the inside out. It’s filmmaking of the highest order from an American master finally receiving the appreciation he deserves. —EK (Review)
Ari Aster’s first feature is more than just a terrifying movie — though it certainly hits its mark in that regard — because it uses the genre to craft a mesmerizing portrait of the grieving process. Toni Collette delivers some of her best work as a woman reeling from multiple deaths in her family and struggling to address the resentment she feels toward her teenage son (Alex Wolff, also first-rate). Collette’s character produces a number of miniatures that provide a chilling signifier for the encroaching paranoia and doom that dominates each scene, but the most astonishing thing about “Hereditary” is the way it portrays this broken family in such credible terms even as the story careens into outrageous supernatural territory. The final minutes are some of the most riveting you’ll see all year. —EK (Review)
See the full list and read the write-ups here.
Read the full interview here.
“In year two, the show has widened its scope and deepened its voice, jumping into the growing off-campus controversies over free speech and institutional racism – all without forgetting to be stylish and funny [with help from Editor OMAR HASSAN-REEP]. Why this is not generating more critical mash notes is, frankly, befuddling.”
Read the full list here.
“Debates were waged over what episode from the stellar second season of “Dear White People” would make this collection, especially given that “Chapter VIII,” the episode that precedes this one, was a stellar showcase of the show’s talents on a micro level. However, it’s the penultimate episode of the year, in which Sam White (Logan Browning) deals with a family tragedy with the help of her friends Joelle (Ashley Blaine Featherson) and Coco (Antoinette Robertson), where the show reaches an emotional crescendo. If you didn’t ugly-cry at least once during this episode, then the whereabouts of your heart may be unknown. It’s a stunning achievement, brilliantly written by Nastaran Dibai & Yvette Lee Bowser and directed by Janicza Bravo [with OMAR HASSAN-REEP as Editor], and one that will stay with us for quite some time.”
“Helping to establish an aesthetically singular world with Season 1 of Hulu’s dystopian drama The Handmaid’s Tale, cinematographer COLIN WATKINSON received his first Emmy for his efforts, and returned to expand the series’ visual boundaries in Season 2. Watkinson recently sat down at Hulu’s offices for Deadline’s Production Value video series to discuss his craft, and the thinking that went into defining the look of Bruce Miller’s drama based on Margaret Atwood’s novel.”
Watch the interview and see the full writeup here.
“Helping to establish an aesthetically singular world with Season 1 of Hulu’s dystopian drama THE HANDMAID’S TALE, cinematographer COLIN WATKINSON received his first Emmy for his efforts, and returned to expand the series’ visual boundaries in Season 2. Watkinson recently sat down at Hulu’s offices for Deadline’s Production Value video series to discuss his craft, and the thinking that went into defining the look of Bruce Miller’s drama based on Margaret Atwood’s novel.”
Read the full article here