MORE THAN EVER – Review by Nadine Whitney

More Than Ever is suffused with both romance and melancholy, yet it never becomes a melodrama. Through the extraordinary performances of Vicki Krieps and Gaspard Ulliel (whose own untimely death overhangs the film), the audience is asked to empathize but not judge. Atef’s work is heartbreaking but clear eyed. It is brimming with intimacy and loss. What do the dying owe the living? Director Emily Atef answers with one word: honesty.

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CORSAGE – Review by Diane Carson

Austrian writer/director Marie Kreutzer knows the many film and television versions of Empress Elisabeth of Austria, consort of Franz Joseph. Wisely, in Corsage, her presentation of this embattled Hapsburg Empress, Kreutzer envisions a distinctive woman, depicting this nineteenth century Elisabeth turning forty, shackled by society’s constraints, requiring her to be seen but not heard.

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MOVIE OF THE WEEK December 16, 2022: CORSAGE

In Marie Kreutzer’s memorable drama Corsage, Empress Elisabeth of Austria (Vicki Krieps) is floundering. Bogged down by the weight of lifelong social obligations, relentless public scrutiny, restrictive gender roles, and even her own bountiful head of hair, she’s a woman who’s longing to break free. That urge to rebel, to follow her heart instead of the path she’s been forced to follow since birth, drives the action in this insightful film.

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CORSAGE – Review by Susan Wloszczyna

Lushly decorated and costumed, while cheekily anachronistic with its use of 21st century pop songs, salty language, rude gestures and the like, Corsage takes a look at the later life of Empress Elisabeth of Austria, aka “Sissi” (1837-1898), played by a suitably regal and linguistically talented Vicky Krieps (Bergman Island, Phantom Thread), who speaks at least three languages here including Hungarian, and also takes an executive producer credit. In fact, Krieps reportedly first proposed the project to Austrian writer-director Marie Kreutzer.

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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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Ten Female Performances to Watch from NYFF 2022 – Liz Whittemore reports

I always begin my annual list with a caveat. My thoughts are based solely on the films I actually saw at the festival. I’ve heard the buzz surrounding Danielle Deadwyler’s performance in Till. It was unanimous among my fellow journalists that this was a star-making turn. I cannot wait to see it for myself. Until then, here are ten female performances that I cannot shake from the 17 films I saw.

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CORSAGE (NYFF 2022) – Review by Margaret Barton-Fumo

The luminous Vicky Krieps, dressed to the nines in period clothing, middle finger defiantly raised—it’s a knockout poster image, but what of the actual film? Corsage is a measured, decidedly feminist feature—hardly blockbuster entertainment but a sturdy festival release, as well as an excellent showcase for Krieps’ formidable talent. Following in the footsteps of the great Romy Schneider, who starred in three Sissi films during the 1950s, Krieps has taken on the role of the Empress Elisabeth of Austria, an incredibly popular royal of the late 19th century. Heavily scrutinized for her keen fashion sense and compelling public persona, Krieps’ Sissi is a real firecracker, often to the dismay of her more traditionally-minded husband.

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HOLD ME TIGHT – Review by Diane Carson

From the opening moments of Hold Me Tight (Serre moi fort), French director Mathieu Amalric invites us to put assorted jigsaw puzzle pieces together. Soon revealed as the mother of son Paul and daughter Lucie, Clarisse sits before a dozen face down photos which she turns up and then back to face down, repeating angrily, Let’s start again.

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MOVIE OF THE WEEK September 9, 2022: HOLD ME TIGHT

Haunting, engrossing, mysterious — the one thing that director Mathieu Amalric’s melancholy drama Hold Me Tight never is, is predictable. It will keep you guessing and hypothesizing until its final scenes. And thanks to Vicky Krieps’ magnetic performance as Clarisse, a conflicted French wife and mother who abruptly leaves her family early one morning (or does she?), it offers a poignant meditation on the nature of memory and loss, identity and purpose.

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BERGMAN ISLAND – Review by Diane Carson

Invoking multiple references to iconic Swedish director Ingmar Bergman sets writer/director Mia Hansen-Løve’s film Bergman Island up for an inevitable comparison with that revered legend’s work. In fact, as Hansen- Løve says in a press interview, her interpersonal drama, taking place entirely on Bergman’s beloved Fårö Island, is “haunted by his work and his presence,” as reflected throughout her film.

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