ROMERIA – Review by Sarah Ward

Carla Simón has done it again — made a marvel of a movie, that is, and one so teeming with insight and spirit that its personal ties are always evident, as was the case with both Summer 1993 and Alcarràs. The Spanish writer/director may prefer to stay in semi-autobiographical territory again with the richly evocative and resonant Romería; however, as she keeps amassing a resume enviable for its intimacy and intelligence, her work is no less affecting for fictionalising some of the specifics.

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PALESTINE ’36 – Review by April Neale

Palestine ’36 unfolds like a cinematic journal, anchored in Yusuf’s perspective, an English-speaking rural Palestinian whose family is caught in the political upheaval reshaping their homeland. The film captures the tensions building in 1936 as British colonial administration and growing Zionist immigration transform Palestinian society. The characters are fictional, but historical forces surrounding them are real, moving toward the 1938 tragic massacre of the village of Al Bassa by British forces. Writer-director Annemarie Jacir’s sweeping period drama combines historical scale with intimate human storytelling, approaching the subject from a specific historical perspective, yet her storytelling remains grounded in her characters’ lived experiences rather than in an abstract argument.

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ELEANOR THE GREAT – Review by Susan Granger

Scarlett Johansson makes her feature film directing debut with Eleanor the Great, a prickly character study, starring 95 year-old June Squibb. Squibb plays grieving Eleanor Morgenstein who suffers the devastating loss of her best friend Bessie, causing her to relocate from Florida to New York City to live with her overly-stressed adult daughter and unreliable grandson Looking for company at the local Jewish Community Center, Eleanor mistakenly wanders into a Holocaust support group, where she impulsively tells a tale that brings her a precarious level of attention that she did not expect.

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ELEANOR THE GREAT – Review by Lois Alter Mark

June Squibb is a national treasure. At the age of 95, the actress is still full of surprises – as well as award-worthy performances like the one she gives in Scarlett Johansson’s directorial debut, Eleanor the Great. Eleanor the Great is both hilarious and heartbreaking. Tory Kamen’s screenplay is a fresh take on a Holocaust story, with plenty of laughs, care of Eleanor’s unfiltered mouth. Although there are moments in the film that require some suspension of disbelief, the characters (and the actors portraying them) are so engaging, it’s easy to just go along for the ride.

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ELEANOR THE GREAT – Review by T.J. Callahan

Director Scarlett Johansson Johansson brings together themes of aging, family, loss, deception, truth vs reality and, most of all, friendship. It’s refreshing she’s willing to highlight older persons and their life struggles, in turn giving top billing to mature actors who have a dearth of meaty roles to choose from. June Squibb and Rita Zohar, who plays her best friend Bessie, are exceptional.

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ELEANOR THE GREAT – Review by April Neale

Scarlett Johansson makes a bold feature directing debut with Eleanor the Great, a prickly, poignant dramedy anchored by June Squibb in a role that defies the usual saintly-bubbie mold. It’s a film about grief, memory, and the dangerous comfort of borrowed stories. This is an uneasy premise given how severe the “white lie” is that Eleanor tells, yet Johansson tackles it with surprising assurance as a visual storyteller.

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ELEANOR THE GREAT (TIFF 2025) – Review by Leslie Combemale

It’s probably true that at this point 95 year old actor ​June Squibb can do no wrong. She is not only a singular talent, she’s live goals. Just last year she starred in ​Thelma​, in which she did all her own stunts. Now we all have the pleasure of seeing her star shine again onscreen in the title role of​ Eleanor the Great​, ​Scarlett Johansson’s feature directorial debut. When we are introduced to Eleanor, she seems kind of mean spirited. Bossy and not particularly likable, she and her bestie and housemate Bessie terrorize the neighborhood as much as two ninety-somethings can.

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PINA (2011) – Retroview by Jennifer Merin

In subtitling this documentary A Film For Pina, filmmaker Wim Wenders clearly announces his intention to deliver a cinematic tribute to the brilliant German dancer and choreographer, Pina Bausch, who is its leading subject and character. Wenders and Bausch were in pre-production for the film in 2009 when Bausch died of cancer, just five days after she’d been diagnosed with the disease. Wenders continued to work on the production of the film, and eventually shot it using members of the Tanztheater Wuppertal Pina Bausch, the dance company that Bausch helmed since 1974. Wenders shot the dances in 3D, and the effect is gorgeous.

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DISCO BOY – Review by Diane Carson

In his feature debut, Disco Boy, Italian director Giacomo Abbruzzese presents a complex story of political and personal struggle in two individuals from different countries. Escaping into France while on a visa for a football match in Poland, Aleksei, from Belarus, joins the French Foreign Legion. After five years’ service, he’ll receive a French passport. Meantime, in the Niger Delta, Jomo leads a paramilitary group protesting corporate exploitation of the country’s minerals. Aleksei and Jomo will face off against each other when Aleksei’s unit is charged with freeing French hostages. The title comes from Jomo’s comment that, had he been a rich white man, he would have been a “disco boy” dancer, and several scenes foreground a disco club.

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MOVIE OF THE WEEK March 29, 2024: LA CHIMERA

Love and contentment are as elusive as an undisturbed Etruscan tomb in Alice Rohrwacher’s piquant dramedy La Chimera. As it tells the story of a merry group of Italian grave robbers — known as tombaroli — and the inscrutable Englishman who leads them to the caches of objects they happily sell to the highest bidder, the film examines the allure of pursuing something that always seems just beyond your grasp.

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