THE ZONE OF INTEREST – Review by Diane Carson

It is a daunting challenge to present a cinematic experience that does justice to the Holocaust without repeating previous worthy considerations of the unfathomable horrors. Stretching back to Alain Resnais’ 1956 Night and Fog, important fiction and nonfiction works have honored the victims’ memories amidst various dramatizations of Nazi inhumanity. Writer/director Jonathan Glazer has forged a new approach in The Zone of Interest, a narrative of overwhelming, astonishing restraint. Loosely based on Martin Amis’ 2014 novel, Glazer’s narrative enters the pantheon of unforgettable films on the Holocaust, adding another chapter to our understanding of the banality of evil.

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BEFORE, NOW & THEN – Review by Diane Carson

Before, Now & Then follows an Indonesian woman’s readjustment. Indonesian director Kamila Andini brings a haunting, historically grounded story to gorgeous life in Before, Now & Then. Set in West Java in the 1960s, wife and mother Nana, has escaped the civil war which forced President Sukarno to relinquish power in 1967 to Suharto. The disappearance of her husband during that tumultuous time haunts Nana’s recurring, terrifying nightmares.

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THE ROYAL HOTEL – Review by Diane Carson

Consider the desperation, courage, and naiveté prompting two young American friends, Hanna and Liv, to accept a job bartending at the completely misnamed Royal Hotel, located in a remote Australian Outback mining town. As backpacking tourists in Sydney without any viable options, they certainly need the money. However, Hanna and Liv fail utterly to anticipate the clientele, to their dismay.

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EL CONDE – Review by Diane Carson

Now, on the occasion of the fiftieth anniversary of Pinochet’s coup d’état against Allende, Larraín’s El Conde again targets Pinochet. However, Larraín has departed from realistic storytelling, creating a grisly, at times even repulsive, presentation of Pinochet as a jaded vampire in his late eighties. He and his enablers retrieve fresh hearts from victims, put them in blenders, and feast on ugly smoothies. Legendary cinematographer Ed Lachman captures all this in rich, deep black-and-white, the only buffer against our aversion to these loathsome individuals

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THE PASSENGERS OF THE NIGHT – Review by Diane Carson

In The Passengers of the Night, French director Mikhäel Hers settles in with a recently separated, middle-aged woman and her two children for an exploration of unexceptional and yet quite moving 1980s Parisian lives. Affection for all the characters results from a nonjudgmental, straightforward presentation of events over a seven year period, beginning with François Mitterrand’s election, May 10, 1981.

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Telluride FF 2023: Celebrates Diversity for its 50th Year – Diane Carson reports

The Telluride Film Festival, always held over Labor Day Weekend in that gorgeous Colorado town, celebrated fifty years with a dazzling diversity. The twenty films I squeezed into five days ranged from director Tod Browning’s 1927 The Unknown, starring Lon Chaney and Joan Crawford, to writer/director Justine Triet’s intriguing Anatomy of a Fall, this year’s prestigious Cannes Palme d’Or winner.

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BETWEEN TWO WORLDS – Review by Diane Carson

In cinema or books, adopting a disguise, a fake persona, to learn about a different race’s or social class’s experiential reality is not new. Perhaps the many iterations speak to the quite fascinating fantasy of stepping out of our own world into another. French director Emmanuel Carrère adopts this idea with full immersion in Between Two Worlds. Adapted from Florence Aubenas’ 2010 nonfiction book The Night Cleaner, Carrère immediately establishes author Marianne Winckler in disguise as a cleaning woman, euphemistically called a ‘maintenance agent.’

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GOLDA – Review by Diane Carson

In 2023, how can a 100-minute film portray the complicated, multidimensional 1973 Yom Kippur War? For Israeli director Guy Nattiv in Golda, the answer consists of several elements. First, anchor the history in Prime Minister Golda Meir’s exceptional ability to navigate Arab-Israeli politics, her cabinet’s multiple conflicts, and her friendly but fraught relationship with U.S. Secretary of State Henry Kissinger. Golda is a significant film and history lesson. The cast advances every delicate nuance, with Helen Mirren as Golda, the anchor of every scene.

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OUR BODY – Review by Diane Carson

Unobtrusively, in Our Body, French director Claire Simon documents patients, doctors, and nurses in a gynecology ward of a Parisian hospital. In over two hours and forty-nine minutes, Simon observes interaction concerning a wide range of women’s medical conditions and records several operations. Discussions include abortion, trans therapy, hysterectomy, endometriosis, fertility testing and treatment, breast and cervical cancers, mastectomy, and more. Unexpectedly and ironically, director Simon becomes one of the subjects part way through her filming, and she joins the diverse group of women.

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BOBI WINE: THE PEOPLE’S PRESIDENT – Review by Diane Carson

Codirectors Christopher Sharp and Moses Bwayo’s documentary Bobi Wine: The People’s President tells a story that, were it fiction, would qualify as a fanciful Hollywood invention. For its subject moves from the slums of Uganda’s capitol Kampala to star status as a reggae-inspired musician to candidate for Ugandan president, then arrested, tortured, and eventually released, ill and lame. Bobi Wine: The People’s President is a tribute to a fearless advocate for democracy and yet another tragic tale of power run amok, too often supported by developed nations.Bobi Wine: The People’s President is a tribute to a fearless advocate for democracy and yet another tragic tale of power run amok, too often supported by developed nations.

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