AFTERSUN – Review by Martha K Baker

Aftersun is definitely a film to be seen in the cradle of a theater — without distractions and with Marshall McLuhan’s understanding of movie-going. The intimacy engendered by a theater supports the intimacy of Charlotte Wells’ work, of her theme, of her camera. Aftersun modeling the French approach to domestic dailyness, requires allowance for full appreciation.

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AFTERSUN – Review by Valerie Kalfrin

When do you see your parents as relatable people? When you’re a parent yourself, or just mature enough to take in their troubles and insecurities? Aftersun, the powerful feature debut from writer-director Charlotte Wells, stirs these thoughts in a way that’s tender, honest, and subtly devastating. It’s a heartfelt, affecting portrait of a father-daughter relationship that lingers in the mind afterward.

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NYFF 2022’s Unfamiliar Faces: Where are they now? – Margaret Barton-Fumo reports

A lot of big titles screened at the NYFF this year, many of which were directed by esteemed women filmmakers, including festival darlings Claire Denis, Kelly Reichardt and Joanna Hogg. Also of note were new films by Sarah Polley and Maria Schneider. Several women directors snuck in under the radar with films that largely challenged the status quo. Most of them were first-time directors or unfamiliar faces, infusing fresh blood into a somewhat tired festival circuit. We should be on the lookout for such women who enrich our filmgoing experience, introducing us to new methods of filmmaking. But where do these films go after the festival screening? The answer is not always clear-cut.

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