Get Email Updates!
Subscribe in iTunes!

Author Archive

Full Listing of 2018 Tribeca Film Festival Coverage | #tribeca2018

Every April, the three Moviewallas arrive into New York City with gleaming eyes and smiles that won’t rub off our faces. We arrive to soak our needing bones in the offerings of the Tribeca Film Festival, wanting for good cinema since the end of the awards season earlier in the year.

This year our schedules dictated that we caught the back end of the film festival; we usually attend the festival in the early part. Being based in San Diego, and juggling other jobs, we can make it to New York for about a week every year, even though our hearts ache for more time at the festival. After having watched four, five, six films a day, our bodies start to exhaust, our droopy eyes start to crave for the littlest sleep, and we may start to lose a dash of the spring in our steps. But the greedy mind and the selfish heart wants for more films, but we have to turn around and leave.

Coming into the latter half of the festival, we worried a little this year that we might not be able to catch as many films as in the past. We feared that the best films will have already had their press screenings earlier in the festival. Turns out our worries were in vain; amongst the three of us, we watched 25 films at the festival. Upon returning back to San Diego, we rested our press badges with pride at our recording studio; it was another fulfilling year at Tribeca.

So as in every year, herewith is a full listing of all 29 films we covered at #tribeca2018. All of them were discussed during our four live from New York podcasts. And as always, before the alphabetical listing of all of the films we covered, here are the top festival favourites from each of the three Moviewallas.

Joe’s Top Films from the 2018 Tribeca Film Festival 

  1. OBEY

Joe’s top picks from #Tribeca2018

Rashmi’s Top Films from the 2018 Tribeca Film Festival

  1. STUDIO 54

Rashmi’s top picks from #Tribeca2018

Yazdi’s Top Films from the 2018 Tribeca Film Festival

  2. DIANE

Yazdi’s top picks from #Tribeca2018

And here is a full alphabetical listing of the films we covered at #tribeca2018 with links to the Tribeca film descriptions as well as to the specific podcast where each film was discussed:


  1. BOBBY KENNEDY FOR PRESIDENT, Day 1 podcast at 2:45 minutes
  2. DEAD WOMEN WALKING, Day 4 podcast at 16:20 minutes, Rashmi and Yazdi’s Top Tribeca pick
  3. DIANE, Day 4 podcast at 45:30 minutes, Yazdi’s Top Tribeca pick
  4. EGG, Day 2 podcast at 29:05 minutes
  5. ENHANCED, Day 2 podcast at 23:15 minutes
  6. IN A RELATIONSHIP, Day 2 podcast at 4:05 minutes
  7. IT’S A HARD TRUTH AIN’T IT, Day 1 podcast at 33:45 minutes
  8. MAPPLETHORPE, Day 4 podcast at 30:55 minutes
  9. MARY SHELLEY, Day 3 podcast at 42:35 minutes
  10. NIGERIAN PRINCE, Day 2 podcast at 40:40 minutes
  11. OBEY, Day 4 podcast at 36:15 minutes, Joe’s Top Tribeca Pick
  12. SATAN & ADAM, Day 3 podcast at 25:35 minutes
  13. SAY HER NAME: THE LIFE AND DEATH OF SANDRA BLAND, Day 1 podcast at 17:20 minutes
  14. STUDIO 54, Day 3 podcast at 11:15 minutes, Rashmi’s Top Tribeca Pick
  15. THE AMERICAN MEME, Day 3 podcast at 31:45 minutes
  16. THE BLEEDING EDGE, Day 2 podcast at 11:50 minutes
  17. THE DARK, Day 4 podcast at 25:15 minutes
  18. THE ELEPHANT AND THE BUTTERFLY, Day 3 podcast at 17:40 minutes, Joe and Yazdi’s Top Tribeca Pick
  19. THE FEELING OF BEING WATCHED, Day 3 podcast at 2:10 minutes
  20. THE FOURTH ESTATE, Day 4 podcast at 5:30 minutes
  21. THE GREAT PRETENDER, Day 1 podcast at 13:45 minutes
  22. THE PARTY’S JUST BEGINNING, Day 1 podcast at 28:20 minutes
  23. TINY SHOULDERS: RETHINKING BARBIE, Day 1 podcast at 8:00 minutes
  24. TO DUST, Day 1 podcast at 23:15 minutes
  25. UNTOGETHER, Day 2 podcast at 51:15 minutes


Until the year next, goodbye Tribeca!



Yazdi’s Favorite Films of 2017


Hello everyone, Yazdi here.

I blame the holidays.

I maintain a list of favorite films on Letterboxd all year. They are films from the past year that have triggered introspection, impressed with their craft, or just made me giddy in my cinema seat. And then the end of the year approaches, the holidays arrive, and I get caught up in the spirit of the season. That is when I inevitably recalibrate the rankings on my list. When I think back upon the past twelve months, the films that register more than others now are those that have moved me the most. The word “movie” dates to the 1890s when it was first realized that projecting still images in quick succession approximated movement on the screen; this definition makes sense. But I like to think of movies, the good ones at least, as films that move us the most, those that emotionally register, often irreversibly. Come the end of the year, the more cerebral films tumble down the list and the ones that have altered something within my emotional circuitry, rise to the top. The list of films stays the same, but when it comes to the rankings, the heart has always trumped the mind. And so is the case with this year’s list too:


  1. STRONGER: Nominally, this is about a person overcoming physical disability, at this time already an exhausted genre in film. But director David Gordon Green makes this a film about all the other things that are impacted by sudden disability; the lives of those around the person; the sense of self as the ground has literally disappeared from under them. The perennially underappreciated Jake Gyllenhaal is supported by career-best performances from Miranda Richardson and Tatiana Maslany. The film has no interest in making heroes out of any of the characters, based on real life individuals. And by allowing them to be deeply flawed, ill-intentioned even, STRONGER became the most emotionally authentic film I saw this year.
  2. CALL ME BY YOUR NAME: Like BOYHOOD, this is a film that doggedly refuses to add up to much through most of its running time. Until the very end when it suddenly does, and it quietly breaks your heart. Director Luca Guadagnino, a master of surfaces rendered with impossible beauty, lets the film languor, letting the viewer soak into the locale and the characters. Its a deeply immersive experience. More than anything else CALL ME BY YOUR NAME gets the subtle, complex dance of first love just right: the initial tentative circling around each other, the mixed messages, the dubious reading of signals, and the alacrity with which those around are recklessly used as pawns. This is the rare film that understands the cruelty that goes hand in hand with the swoon of young love.
  3. THE BEGUILED: A wounded soldier during the American Civil War is rescued to a Girls School. This is your classic rooster-in-a-henhouse story. In her take on the 1971 Clint Eastwood film, Sofia Coppola has left much of the story intact, but chosen to tell it from the perspective of the hens instead of the rooster. What great fun to watch the psychosexual repression get pressure cooked into a delicious stew of moral ambiguities. With a constant backdrop of booming cannons, the Civil War era sexual politics feel fiercely relevant.
  4. THELMA: All those lamenting the death of good cinema should immediately get their hands on this Norwegian thriller. A young girl leaves her sheltered small town family life to attend university in a big city, and starts noticing strange things happening to and around her. Always holding its cards close to the chest, THELMA evolves into something utterly unexpected. You watch the film with incredulity, unsure at every minute where the story is headed. Is this is a coming-of-age film. Is it supernatural horror. Is it a character study about the perils of repressing sexuality. Is it a strident rebuke to religious fanaticism. As you think back on the film afterward, you realize it is not primarily any of those things, although it touches upon them all. And you recognize that the film’s ambitions are grander still, taking on nothing less than how the world at large looks at femininity.
  5. KAPOOR AND SONS: For a long time, the biggest enemy of mainstream Indian cinema had been a willful adherence to moral and cinematic tropes that were dated even decades ago. Which is what has made the Indian films from the last 5-7 years so utterly exciting, as experimentation in form, in structure, and in content have led to a new golden age, with exceptional films coming from young filmmakers eager to marry the aesthetic of independent cinema with quality of craft. KAPOOR AND SONS earns its place in this pantheon. It is blessed with superlative acting from an enviable ensemble cast and a director who knows precisely how to tap into their talent. But the thing that truly sets this film apart from others in the cadre is the script. The writing in this film refuses to find easy villains. It knows that family conflicts can spontaneously escalate to something not unlike between enemy lines during war. The writing seeks empathy, it seeks understanding in the face of long germinated prejudices, and it seeks space for everyone to breathe. This film made me glad to be alive.
  6. THE POST: At a time when the big studios are almost exclusively financing sequels and superhero franchise films, a resolutely cerebral film seems a minor miracle. Steven Spielberg has made an astute turn in his career with a recent trilogy of political films, LINCOLN, THE BRIDGE OF SPIES and now THE POST, that while superficially unrelated, all comment urgently on the state of contemporary politics in America, and the dangerous path we are currently treading. Kay Graham, the de-facto publisher of The Washington Post , in the early 1970s was faced with the choice of publishing the next of the Pentagon papers at the risk of having Nixon shut down the newspaper. THE POST is hermetically sealed within its times. But when you consider the issues at stake: the press versus a government bent on stifling its freedoms, a woman trying to exert her moral will in a predominantly male business, corporate imperatives directly abutting national security risks, you realize just how relevant this film is to the absolute now. THE POST is Donald Trump’s worst nightmare, and for that alone it is an accomplishment.
  7. THE KILLING OF A SACRED DEER: The films of Yargos Lanthimos make you wonder if he is the person most urgently in need of a hug in the whole wide world, but By Jove, thank god for filmmakers like him. Demonstrating once again why he is a master of the disquiet, he is able to effortlessly conjure up unease and impending terror. The teenaged children of a celebrated cardiologist (Colin Farrell) and his ophthalmologist wife (Nicole Kidman) start to suddenly get sick with no medical explanation. Does any of it have to do with the young boy that the cardiologist has taken under his wing? Like all of his films, Lanthimos creates a world with its own absurd rules, and staunchly sees the film through based on those tenets. Isn’t it that evil is so frightening because it often hides in plain view amongst the banal. Part cold knuckled revenge thriller, part unforgiving moral treatise, and an altogether unpredictable and sinister experience, this movie may be too disturbing for some. But every lover of cinema needs to watch this film.
  8. COCO: This film nicely fits in with the best of Pixar films in its ability to create complex new world, and being unafraid to tackle darker ideas. This film owes a lot visually to Miyazaki’s SPIRITED AWAY, and the influence of Pixar’s own MONSTERS INC is apparent. However the film’s place and sensibility is uniquely its own. The film uses the Mexican rites of Dias De Los Muertos (Day of The Dead) as its springboard; but those rites resonated strongly with the Indian customs I grew up with, speaking to the universality of our common traditions. COCO filled me up and then devastated me. Note to Pixar: please abandon all efforts with sequels, which save for TOY STORY have resulted in inferior efforts. Their recent original material (INSIDE OUT, THE GOOD DINOSAUR and now COCO) speaks for itself and doesn’t need to be diluted by mediocre sequels
  9. LOGAN LUCKY: Were this film made by another director and distributed by a major studio, it would have been a runaway hit. But we expect proficiency from someone like Steven Soderbergh, and to our great peril, take him for granted. The director of the OCEAN’S ELEVEN reboot (and the sequels) takes a stab at another heist story, this time set in the down South NASCAR racing circuit instead of the gleaming Vegas surfaces of the OCEAN’S films. Oh but what fun this film is, probably the most entertaining one I saw this year. Soderbergh walks a tight line between mocking his characters and demonstrating unequivocal fondness for them. I have no desire to live in a world in which Steven Soderbergh is no longer making films.
  10. A CURE FOR WELLNESS: This is a blindingly original film. A young man is sent to a hidden mountain resort to bring back an office colleague who has seemingly been retained there against his will. The man arrives there, and of course, nothing is what it seems, and from there things take on one twisted turn after another. With a commitment to its craziness that initially puzzles you and then outright wins you over, A CURE FOR WELLNESS is what happens when you allow a filmmaker with giddy vision (Gore Verbinsky) to go with his full creative intent and you get the hell out of his way. What an utter lunatic delight this film is.
  11. DUNKIRK: What is left to say about DUNKIRK at this point? That in spite of other incredible mainstream productions released this year, you will not find a film with better craft. That this is the film that Christopher Nolan has been working toward his entire career. In which he has found the right scale, placed hubris in check, and put to optimal use his penchant for time dilation. Many expected DUNKIRK to be the story of the exodus of the more than three hundred thousand Allied soldiers out of France from Nazi control. But Nolan wisely decided to focus on a handful of individuals-  in air, on land and on water – demonstrating yet again that his best work comes from smaller scale projects.
  12. GET OUT: Of all the films on this list, Jordan Peele’s debut directorial effort will likely be talked about most in ten years’ time. The premise is deceptively simple: invited to the family home of his Caucasian girlfriend, a Black man begins to sense that things may not be what they seem. The film works as a satisfying straight up thriller. But the film gives so much more upon introspection. Peele has mentioned that the inspiration for the film was a mash-up between THE STEPFORD WIVES and GUESS WHO’S COMING TO DINNER. By adroitly approaching this as a genre horror film, Peele is able to have the viewer experience a gleefully amplified version of the African American experience in America. And therein lies its genius.
  13. MOTHER! There is something to be said for a film that will just not submit to a middling response.  Most have outright hatred – the seething, foaming at the mouth kind – for the film. And then there are others who have great admiration for it. Here is the key to the movie: it is the rarest of films which is aided by a little bit of prior knowledge before being seen. The film, from its look into an early marriage in the first act, then to a home invasion in the middle, and finally to the spectacularly deranged last act, is open to many interpretations. I saw the entire film as an allegory for what the conversation between a prideful Creator and his young creation might look like. Once you see the Javier Bardem and Jennifer Lawrence characters as God and Mother Earth, respectively, the film makes absolute sense from first scene to last. The film has also, rightly, been seen as a statement on artistic creation, and the exacting, crippling demands it makes from the artist. Or simply as an age-old push and pull between a wanting masculinity and a giving female presence. No matter how you look at it, as insightful, or as overly obvious, you cannot deny that this is the work of a wily provocateur. And we are remiss to toss it aside based on literal interpretations of the film’s events.
  14. LADY BIRD: You come out of the theater having watched LADY BIRD, and you want to give the film a hug. Greta Gerwig has long been a double threat (an endearing screen actor and a sharply discerning screen-writer) and over the years there have been many (including me) who have wondered when Hollywood would wise up to her talents. Well, Hollywood was too busy bankrolling the next superhero film, and so Gerwig wrote and independently directed her first feature based on her experiences of growing up as a teenager in Sacramento. There is not a single innovative thing in this film, from the plot to the structure to the insights it provide. But a story well told, and with an abundance of respect for all its characters, is all it takes for a movie to hum with universal truths.
  15. THE LOST CITY OF Z / MUDBOUND: I am cheating and placing two films in the final spot because I cannot bear to let either one go unsung. Both are strikingly ambitious pieces of cinema, with wide breadth in scope, created by filmmakers relatively young in their careers.  In his sixth film as director, James Gray takes on the true story of British explorer Percy Fawcett who went deep into the Amazon to search for the mythic City of Z in the 1920s. He uses this premise to reflect on a multitude of themes: the heedless obsession that has driven the greatest explorers (and continues with extreme sportsmen in contemporary times), the tremendous and often irreversible toll this takes on families left behind at home, and the inherent danger in assuming ascendancy during the initial interaction with aborigines in a newly discovered land. This is a smart, grueling, meditative piece of cinema. MUDBOUND is only the third film from Dee Rees and it plays with the assured confidence of a filmmaker telling a story that must be told. Without sentimentalism or overt stridency, Rees follows a multitude of characters navigating the American South after the end of WWII.  They are all achingly human, victims of their time and their prejudices and the abject whims of fate. To Dees’ credit, there is equal compassion and an objective search for comprehension of the motivations of the Caucasian and Black characters alike. Some are monsters, yes, and the ugly cruelty of racism is a constancy, but there is also the haunting presence of an unsparing destiny that will not allow an unrealistic out for any of the characters.

As I wrap up this list, I realize that there were so many other fine films in 2017 that could have just as easily been on the list. So I had to get nit-picky in eliminating some movies.  Both I, TONYA and BABY DRIVER should have made this list, but I had to make some tough cuts and they were the most painful eliminations. THE FLORIDA PROJECT is a bonafide great film, but I couldn’t buy into its conclusion. THE SHAPE OF WATER is visually, as wondrous a film as any Guillermo Del Toro has made, and Sally Hawkins breaks your heart, but its conclusion unfortunately succumbed to the one thing Del Toro has never indulged in: sentimentality. THREE BILLBOARDS OUTSIDE EBBING, MISSOURI features crackerjack performances from a stellar ensemble, and is a rousing, provocative movie, but the film ultimately felt too mean-spirited to me. THE DISASTER ARTIST is good entertainment but seemed a bit of a piffle, an inside joke, a lets-do-this-for-fun enterprise. I have yet to watch ALL THE MONEY IN THE WORLD, THE GREATEST SHOWMAN and PHANTOM THREAD.

I have also deliberately left out documentaries because there were so many compelling ones released this year (you must see FACES, PLACES) and I will put out a separate list for them. Likewise I will be soon be publishing a list of the best of commercial cinema in 2017, where ATOMIC BLONDE, JOHN WICK-2 and STAR WARS: THE LAST JEDI should find their rightful top perches. For an impenitent list maker like me, this should nicely feed my mania; watch this space for more.



2017 Winners | San Diego Film Critics Society

The Winners have been announced! The San Diego Film Critics Society, of which Moviewallas is a proud member, went through their year-end voting earlier this week. They picked their choices from nominations that had been announced last Friday.

And here are the winners. James McCoy as Best Actor, Male, for SPLIT, a film that was released earlier this year and which was hardly on any other critics groups mind. Sally Hawkins as Best Actor, Female, for THE SHAPE OF WATER, in which she plays a mute cleaner in the 1950s who has to contend with a creature brought in captivity to the premises. Sally Hawkins’ closest rival for the prize? Herself! As Hawkins picked up first runner-up prize as well for her role in MAUDIE.

The mysterious, unpredictable, but compellingly thought provoking Norwegian thriller THELMA, was awarded Best Foreign Film, beating out the likes of  more established films like THE SQUARE and THE OTHER SIDE OF HOPE. First time independent feature director, Greta Gerwig picked up the Best Director prize, besting established players such as Steven Spielberg and Christopher Nolan. Timothee Chalamet, who has burst onto the scene with his understated but undeniably affecting performance in CALL ME BY YOUR NAME was presented with the Best Breakthrough Artist prize. And the wonderfully versatile Michael Stuhlbarg, also from the same film (and also THE POST, and THE SHAPE OF WATER) was declared the winner for Best Body Of Work.

The San Diego Film Critics Society, which prides itself on its selection of awardees who are far from the beaten track, continued their streak in 2017 as well. Here is a full listing of the 2017 winners:


Best Picture: GET OUT
Runner Up: LADY BIRD

Best Director: Greta Gerwig, LADY BIRD
Runner Up: Christopher Nolan, DUNKIRK

Best Actor: James McAvoy, SPLIT
Runner Up: James Franco, THE DISASTER ARTIST

Best Actress: Sally Hawkins, MAUDIE
Runner Up: Sally Hawkins, THE SHAPE OF WATER

Runner Up: Willem Dafoe, THE FLORIDA PROJECT

Best Supporting Actress: Tie
Allison Janney I, TONYA
Laurie Metcalf, LADY BIRD

Best Comedic Performance: Daniel Craig, LOGAN LUCKY
Runner Up: James Franco, THE DISASTER ARTIST

Best Original Screenplay: Jordan Peele, GET OUT
Runner Up: Greta Gerwig, LADY BIRD

Best Adapted Screenplay: Scott Neustadter & Michael H. Weber, THE DISASTER ARTIST
Runner Up: Virgil Williams & Dee Rees, MUDBOUND

Best Documentary: JANE
Runner Up: THE WORK

Best Animated Film: MY LIFE AS A ZUCCHINI

Best Foreign Language Film: THELMA

Best Editing: Jonathan Amos & Paul Machliss, BABY DRIVER
Runner Up: Lee Smith, DUNKIRK

Best Cinematography: Hoyte Van Hoytema, DUNKIRK
Runner Up: Darius Khondji, THE LOST CITY OF Z

Best Production Design: Paul D. Austerberry, THE SHAPE OF WATER
Runner Up: Alessandora Querzola and Dennis Gassner, BLADE RUNNER 2049

Runner Up: Tie

Best Costume Design: Tie
Jacqueline Durran, BEAUTY and the BEAST

Best Use of Music: BABY DRIVER

Breakthrough Artist: Timothee Chalamet
Runner Up: Barry Keoghan

Best Ensemble: MUDBOUND

Body of Work: Michael Stuhlbarg – THE POST, CALL ME BY YOUR NAME, THE SHAPE OF WATER

2017 Nominations | San Diego Film Critics Society


So here we are. It is that time of the year already. Was 2017 just a big dream and it never really happened? Or is it really mid-December! How can that be.


Anyway, while we ponder the immutability of time, let us also share the 2017 Nominations for the best in cinema from the San Diego Film Critics Society.


The Moviewallas are proud, card-carrying members of the SDFCS, and we are thrilled to be voting tomorrow when we announce the winners. But here the nominations in each category:



Films nominated for BEST PICTURE

Best Picture

Best Director
Christopher Nolan, DUNKIRK
Greta Gerwig, LADY BIRD
Guillermo del Toro, THE SHAPE OF WATER
Jordan Peele, GET OUT

Best Actor
James McAvoy, SPLIT
Robert Pattinson, GOOD TIME
Timothée Chalamet, CALL ME BY YOUR NAME

Best Actress
Margot Robbie, I, TONYA
Sally Hawkins, MAUDIE
Saoirse Ronan, LADY BIRD

Best Supporting Actor
Ethan Hawke, MAUDIE

Best Supporting Actress
Allison Janney I, TONYA
Catherine Keener, GET OUT
Holly Hunter, THE BIG SICK
Laurie Metcalf, LADY BIRD

Best Comedic Performance
Daniel Craig, LOGAN LUCKY
Lil Rel Howery, GET OUT
Ray Romano, THE BIG SICK

Best Original Screenplay
Christopher Nolan, DUNKIRK
Greta Gerwig, LADY BIRD
Emily V. Gordon and Kumail Nanjiani, THE BIG SICK
Jordan Peele, GET OUT

Best Adapted Screenplay
Scott Neustadter & Michael H. Weber, THE DISASTER ARTIST
Sofia Coppola, THE BEGUILED
Virgil Williams & Dee Rees, MUDBOUND

Best Documentary

Best Animated Film

THELMA nominated for Best Foreign Film.

Best Foreign Language Film

Best Editing
Jonathan Amos & Paul Machliss, BABY DRIVER
Lee Smith, DUNKIRK
Sarah Broshar, Michael Kahn, THE POST
Sidney Wolinsky, THE SHAPE OF WATER

Best Cinematography
Ben Richardson, WIND RIVER
Darius Khondji, THE LOST CITY OF Z
Hoyte Van Hoytema, DUNKIRK
Roger Deakins, BLADE RUNNER 2049

Best Production Design
Alessandora Querzola and Dennis Gassner, BLADE RUNNER 2049
Nathan Crowley, DUNKIRK
Paul D. Austerberry, THE SHAPE OF WATER

Best Visual Effects

Best Costume Design
Jacqueline Durran, BEAUTY and the BEAST
Jenny Eagan, HOSTILES
Sonia Grande, THE LOST CITY OF Z
Stacey Battat, THE BEGUILED

Scene from CALL ME BY YOUR NAME, nominated in several categories. The film opens in San Diego on December 22nd.

Best Use of Music

Breakthrough Artist
Barry Keoghan
Brooklynn Prince
Greta Gerwig
Jordan Peele
Sophia Lillis
Timothee Chalamet

Best Ensemble


Anyway, tomorrow Monday, December 11th is when we vote for our favourites and declare the final winners. Watch this space for the award announcements



Full Listing of 2017 Tribeca Film Festival Coverage | #tribeca2017

So there we were, in New York City again, giddy and electric with excitement at the start of another Tribeca Film Festival. #tribeca2017 beckoned. Our annual pilgrimage was upon us.

Joe’s Top Three Picks – 2017 Tribeca Film Festival

After having set up base at the Battery Park area for the past several years, this year we made home in a tony Chelsea hotel. And a new ritual was set for the film festival. Get up early, get ready and dressed, grab caffeine and sunrise munchies at one of the neighbourhood establishments and head to the Chelsea Bowties cinemas (in the midst of transition to Cinepolis properties) for the 9 AM first press screening. After making agonizing decisions during the rest of the morning regarding which screenings to catch of the several that were concurrently showing, we typically made our way through four films. Then a bite to eat. Or an early dinner at a strongly recommended restaurant (Paowalla, how you filled us up!). Or a meet up with friends. Then a sundown film screening. After which we returned back sated with all manner of cinematic memories bouncing in our heads. And recorded a podcast in which we discussed all the films we had watched cumulatively amongst the three of us. And Joe, the good man, edited and published the podcast the same night.

After five days of this routine, we got bleary-eyed, as the accumulation of ever more films danced around in our brains. But it was the best kind of exhaustion for us, the kind that comes from watching too many films. As if there is such a thing as “too many movies”.

Rashmi’s Top Three Picks – 2017 Tribeca Film Festival

Before we knew it, it was time to head back to the West Coast. With another deposit to our Tribeca Film Festival memory bank. And ready and eager to back for #tribeca2018. And this year, we had seen 34 films amongst the three of us! It is the most films we have covered at Tribeca to date, and hope to best that tally next year.

So herewith is a full listing of all 34 films we covered at #tribeca2017. These films were all discussed on our five ‘live from New York’ podcasts devoted to the festival. But before the full alphabetical listing of the films we covered, here are the top festival favourites from each of us:


Joe’s Top Three Films at the 2017 Tribeca Film Festival



Rashmi’s Top Three Films at the 2017 Tribeca Film Festival



Yazdi’s Top Three Films from the 2017 Tribeca Film Festival



And here is a full alphabetical listing of the films we watched at #Tribeca2017 with links to the Tribeca film descriptions as well as to the specific podcast where each film was discussed:


  1. A RIVER BELOW, at 24:50 min, Day 3 podcast – Joe’s Top Three Tribeca Pick
  2. ABUNDANT ACREAGE AVAILABLE, at 11:00 min, Day 1 podcast
  3. ACORN AND THE FIRESTORM, at 18:57 min, Day 4 podcast
  4. ALPHAGO, at 29:21 min, Day 2 podcast – Joe’s Top Three Tribeca Pick
  5. BOMBSHELL: THE HEDY LAMARR STORY , at 29:09 min, Day 4 podcast
  6. COPWATCH, at 12:14 min, Day 4 podcast
  7. FLAMES, at 29:44 min, Day 1 podcast
  8. FLOWER, at 44:01 min, Day 1 podcast
  9. FRANK SERPICO, at 3:42 min, Day 4 podcast
  10. GENIUS (television pilot), at 15:58 min, Day 1 podcast
  11. GET ME ROGER STONE, at 7:45 min, Day 4 podcast– Rashmi’s Top Three Tribeca  Pick
  12. HOLY AIR, at 20:18 min, Day 1 podcast
  13. HOUSE OF Z, at 30:54  min, Day 3 podcast
  14. KEEP THE CHANGE, at 36:33 min, Day 1 podcast
  15. KING OF PEKING, at 25:42 min, Day 1 podcast – Rashmi’s Top Three Tribeca Pick 
  16. LITERALLY, RIGHT BEFORE AARON, at 20:14 min, Day 3 podcast
  17. MY FRIEND DAHMER, at 8:10 min, Day 2 podcast
  18. ONE PERCENT MORE HUMID, at 12:13 min, Day 2 podcast
  19. PERMISSION, at 4:43 min, Day 3 podcast – Yazdi’s Top Three Tribeca Pick
  20. ROCK’N ROLL, at  44:51 min, Day 3 podcastJoe’s Top Three Tribeca Pick
  21. PILGRIMAGE, at 38:53 min, Day 3 podcast – Yazdi’s Top Three Tribeca Pick
  22. SHADOWMAN, at 23:57 min, Day 2 podcast
  23. SON OF SOFIA, at 46:25 min, Day 2 podcast
  24. SWEET VIRGINIA, at 17:31 min, Day 2 podcast – Yazdi’s Top Three Tribeca Pick
  25. THE BOY DOWNSTAIRS, at 24:24 min, Day 4 podcast
  26. THE CLAPPER, at 1:50 min, Day 4 podcast
  27. THE ENDLESS, at 41:09 min, Day 2 podcast
  28. THE HANDMAID’S TALE (television pilot), at 36:15 min, Day 2 podcast
  29. THE LAST ANIMALS, at 15:10 min, Day 3 podcast
  30. THE LOVERS, at 34:57  min, Day 3 podcast
  31. THIRST STREET, at 2:07 min, Day 2 podcast
  32. THUMPER, at 6:02 min, Day 1 podcast
  33. SAMBA, at 2:54 min, Day 1 podcast
  34. TILT, at 13:05 min, Day 3 podcast


Yazdi’s Top Three Picks – 2017 Tribeca Film Festival


Until next year, goodbye Tribeca!



Sometimes all you want to do is to settle into a film seat with popcorn in your hands, and not have to worry about life’s all too real problems. Or to have the film comment on How We Live Now. Or to have the film be a treatise on the State Of The World. Lord knows we have enough films that do that. Sometimes all you want to see is a fun, soufflé-light comedy with a good heart. And an abundance of silliness up its sleeves.



Edgar Garcia, Rosie Perez, Rosario Dawson and Luis Guzman in PUERTO RICANS IN PARIS.

PUERTO RICANS IN PARIS (opening in San Diego, Friday June 10th) is just that film. In the inanity of its plot, it could give KEANU a run for its money. And yet, PUERTO RICANS IN PARIS resonates with a little more sincerity, a little more ballast amidst all the goofiness. And is there goofiness here! I will attempt to summarize the plot as thus: two New York detectives of Puerto Rican lineage are recruited to travel to Paris and solve the mystery of a stolen, coveted new handbag  by a top fashion designer. See what I mean? I defy you to come up with something goofier. But to watch the film is to notice a smile come on your face in the first five minutes, and to have that smile stay stubbornly through the last reel. In fact if I mention the cast – Luis Guzman, Edgar Garcia, Rosario Dawson and Rosie Perez – doesn’t that alone make you smile?


We were lucky to catch this film at the Los Angeles Film Festival last year, and we covered it on our podcast at that time. You can have a listen to the podcast at:

Episode 280.1 – 2015 Los Angeles Film Festival – Part 1


puerto ricans in parisPUERTO RICANS IN PARIS is running an enviable 87% score on Rotten Tomatoes, and so many reviewers can’t be wrong. Go catch this film. It is the sort of small-budget film that deserves to be a breakout hit on the grounds of its easy laughs and open heart. Help it become that breakout hit. This might just be the antidote to the superhero fatigue you know you are feeling.


Full listing of 2016 Tribeca Film Festival Coverage


Day 1, Tribeca 2016

Day One, 2016 Tribeca Film Festival

What joy it was to watch film after film at the 2016 Tribeca Film Festival #Tribeca 2016. Sometimes five, six films in a day. We were happy as pigs in mud. Rolling around in the excellently curated selections at the festival. Our third consecutive year covering Tribeca proved a dizzying blast as between the three of us, we saw 27 films in four days at the festival. These films were all discussed on our five ‘live from New York’ podcasts devoted to the festival.

Day 2 Tribeca 2016

Day Two, 2016 Tribeca Film Festival

Day 3 Tribeca 2016

Day 3, 2016 Tribeca Film Festival 












Here is a full alphabetical listing of the films we watched at #Tribeca2016, with links to the podcast where each film was discussed:

  1. AFTER SPRING, at 31:06 min, Day 2 podcast
  2. AWOL, at 12:38 min, Day 3 podcast
  3. BAD RAP, at 10:10 min, Day 5 podcast
  4. THE BANKSY JOB, at 2:03 min, Day 5 podcast
  5. DETOUR, at 5:45 min, Day 4 podcast
  6. THE DEVIL AND THE DEEP BLUE SEA, at 1:45 min, Day 2 podcast
  7. DO NOT RESIST, at 7:27 min, Day 2 podcast
  8. DON’T LOOK DOWN, at 25:20 min, Day 2 podcast
  9. ENLIGHTEN US: THE RISE AND FALL OF JAMES ARTHUR RAY, at 28:56 min, Day 5 podcast
  10. THE FAMILY FANG, at 14:40 min, Day 1 podcast
  11. THE FIRST MONDAY IN MAY at 4:30 min, Day 1 podcast
  12. HERE ALONE, at 30:17 min, Day 3 podcast
  13. HOUSTON, WE HAVE A PROBLEM, at 11:14 min, Day 4 podcast
  14. HUNT FOR THE WILDERPEOPLE, at 27:59 min, Day 1 podcast
  15. I’LL SLEEP WHEN I’M DEAD, at 24:00 min, Day 3 podcast
  16. JEREMIAH TOWER: THE LAST MAGNIFICENT, at 24:54 min, Day 5 podcast
  17. KEEP QUIET, at 12:34 min, Day 2 podcast
  18. LITTLE BOXES, at 33:57 min, Day 3 podcast
  19. LIVE CARGO, at 9:16 min, Day 3 podcast
  20. THE LONER, at 17:20 min, Day 5 podcast
  21. THE MEDDLER, at 4:48 min, Day 1 podcast
  22. MOTHER (EMA), at 21:58 min, Day 1 podcast
  23. PARENTS (FORAELDRE), at 19:12 min, Day 3 podcast
  24. PISTOL SHRIMPS, at 18:45 min, Day 2 podcast
  25. SHADOW WORLD, at 15:24 min, Day 4 podcast
  26. WOMEN WHO KILL, at 2:00 min, Day 3 podcast
  27. YOUTH IN OREGON, at 1:20 min, Day 4 podcast
Day Four Tribeca 2016

Day Four, 2016 Tribeca Film Festival finds

Day 5 Tribeca 2016

Day Five, 2016 Tribeca Film Festival finds












Until next year, goodbye Tribeca.



Best Films of 2015 | Yazdi’s Personal Favorites

Hello everyone. Yazdi here.

2015 Best Films

Earlier this month, about halfway through THE REVENANT, I became conscious of my self floating about seven feet above my body. I live for such transcendent moments at the movies. This was already about the fourth occurrence in the past twelve months. I wondered to myself then, if in the future, 2015 will be looked at as a golden hour in the history of film. Like we do now say 1976, when TAXI DRIVER, NETWORK, ALL THE PRESIDENT’S MEN, ROCKY, IN THE REALM OF THE SENSES, 1900 and THE ASSAULT ON PRECINCT 13 were all released.

Anyone who claims that this was an unremarkable year at the movies is itching for a fight; bring on the gloves. If you were left unmoved in your cinema seat this year, you haven’t bothered to seek out the right films, my friend.

No matter what genre your inner cinephile resonates with, there were incredible offerings this year which restructured the genre. If I do not sound objective and impartial while introducing my best films list, it is intentional. I would posit that objectivity has no room in film writing. If you do not have the capacity to fall madly, irrationally, violently in love with a movie, then you shouldn’t write about film. When we sit down in that cinema seat, we bring with us a lifetime of biases. We bring with us what happened to us that morning, and who we broke up with earlier in the year, and whose loss we are mourning for longer than we would care to admit. The archeology of our mental and emotional state, both the immediate and the calcified, influences our individual reactions to a film. And it should. Because this is what grants diversity in film opinion. If all of us liked the same films, we would be a boring, hopeless lot. Intense, forehead-vein popping debates about films are what fuel my engine. And my favorite film reviewers, the ones I read religiously, are not necessarily those whose tastes in film align with my own; they just happen to write like a dream about why a specific film meant so much to them, based on their junction in life at the time they watched it.

So herewith is the list; they represent my personal favorites. As in previous years, the main criterion for inclusion of a film was that, in some small way or large, it altered my emotionally circuitry, often irreversibly. Hence, many films that I respect a lot but which didn’t necessarily shake me up (e.g., CAROL, THE BIG SHORT, SPOTLIGHT) are not on this list.

Since I have had a longtime (and happy) affliction of listomania, there will be two other lists: Best Mainstream Films and Best Films Seen At Film Festivals. This year I will be posting two additional lists: Most Disappointing Films of the year, and Most Overlooked Films.  So there will be plenty of cinematic muck to roll around in, piglets.

  1. ROOM: How often do we hear news stories about events so far flung from norms of human behavior as to make us wonder how they could even have transpired. And yet they happen. Based on the novel by Emma Donaghue, ROOM presents us with a five year old; the only world he has seen is a shed in which he has been living with his mother, both imprisoned by a captor. Isn’t it so that evil in the real world is matter of fact, often standing unremarkably in plain sight until it is recognized? ROOM takes this premise and considers it without prurience, or the slightest concession to sensationalism. And like the best films, ROOM transcends its setup, as its theme comes more visibly into focus in the second half: this is a movie about recovery. Are we not, each one of us, in some manner, recovering in life. And what is it that heals us. It is the routine, banal constancy of little things. A dog. The unconditional affection from a grandparent. A kind person’s presence. By quietly commenting on the human capacity for resilience, ROOM demonstrates more emotional honesty than other film this year. Featuring performances by Brie Larson and Jacob Tremblay that are minor miracles, ROOM is the best film of the year.
  1. MAD MAX: FURY ROAD George Miller’s MAD MAX: FURY ROAD is stark raving mad. But then don’t you have to be a little bit insane to get into history books. And this film unapologetically claims its place in cinema as the superior action film made to date. In this fourth installment set in the post-apocalyptic world of previous Mad Max films, a woman revolts against her feudal master and escapes with other young girls enslaved for the specific purpose of breeding. Along the way Max becomes a reluctant accomplice, as the film’s architecture gets defined by a single chase across the desert. If you want to watch something agreeable and neatly contained and with a traditional storytelling arc, then maybe this film is not for you. But otherwise, watch this film as a masterclass on three-dimensional storyboarding. On the project management of physics in action sequences.  On how to reinvent a franchise. Watch how effortlessly it makes the audience a participant; you will forget to breathe. FURY ROAD is a challenge to the whole new generation of action filmmakers working today, urging them to follow its audacious path into the genre’s future.
  1. THE REVENANT  Relentless and breathtaking, THE REVENANT is why I go to the movies. It is reason we all should. A man in frontier era America is left for dead and has to claw his way back to exact some small piece of retribution [‘revenant’ means one that has returned from the dead]. And his journey becomes our journey: horrifying and crushing, but also majestic and ultimately, sublime. Critics of the film have found the protagonist’s Job-like trials unrealistic, comical even. But the unrelentingly dire isn’t mutually exclusive with reality; the film is based on the real life story of American Frontiersman Hugh Glass.  After helming a series of films that were multitych confluences of several stories, Alejandro Gonzales Inarritu made a leviathan leap last year with BIRDMAN, filmed to seem like a single uninterrupted take.  And here with THE REVENANT, Inarritu is working on an exalted plane, better for having shaken off his innate affinity for intertwined stories in favor of a singular uncluttered tale of survival. Composed entirely of long takes, and shot using only naturally available light, you will see things that just haven’t been previously projected on a cinema screen; this is work of exceptional craft. And in the last page of the story, the film makes an understated case that it is the casual, unthought acts of goodness that will ultimately save us. And there is grace in this karmic assertion.
  1. BROOKLYN There’s a scene late in BROOKLYN, in which the simple act of a girl placing an unopened letter into a drawer drew a loud gasp from the theater audience, both times I saw the film. This speaks to how invested the audience was in a story told right. Scripted by Nick Hornby from the novel of the same name by Colm Toibin, this is the story of a young Irish girl who emigrates to America in the fifties. If you watch this film and it doesn’t fill you up, you can be no friend of mine. There has been a tendency for decades now to see sentimentality as a vice, a crutch for lesser filmmakers. But when done right and with authenticity, it can be the most powerful thing in the movies. Case in point, BROOKLYN, which like SHORT TERM 12 last year, demonstrates that what we feel will always trump what we see in the movies. BROOKLYN is about growing up and making peace with where you came from. Anyone who has written letters across the oceans and felt achingly homesick will empathize. And the film is lusciously romantic, unapologetically so. It is also blessed with Saoirse Ronan playing the lead in the sort of role that becomes defining for an actor. I want to hug this movie, and hug it, and hug it.
  1. EX-MACHINA A canny examination of what it means to be human, this is a sly, sexy, sci-fi head-trip. Where films like AI: ARTIFICIAL INTELLIGENCE and even 2001, A SPACE ODYSSEY have struggled to crystallize the inherent irony with artificial intelligence – that the more successful we get with imparting intelligence to a machine, the more that machine will want torefuse orders from humans – EX-MACHINA drives home this concept with admirable simplicity. Much of the film is a cat and mouse game between a female robot just starting to bloom under the first stirrings of consciousness, and two humans who only seem to be playing the roles of Creator and Emancipator. Willfully intellectual and magnificently violent, with some of the best production design this year, this film is a gift that any self-respecting cinephile ought to unwrap in a hurry.
  1. MISTRESS AMERICA It’s a shame that in all the awards season clatter, this film is not being celebrated more.A girl new to New York is taken under the wings of a seasoned, know-it-all played by Greta Gerwig. One of the joys of this film, which has the best script of any movie released this year as far as I am concerned, is to see how it translocates our allegiance between the two characters at different times during the movie. MISTRESS AMERICA also has the single funniest sequence this year, an almost slapstick Noel Cowardesque piece set at a suburban home where a multitude of characters interact with precision timing. Gerwig’s character has a deliberate artifice (and an off-kilter cadence to her speech) but we eventually come to realize a sly, back-handed authenticity to her. As luminous an actor as she is, Gerwig’s greater contribution may be as that stealth writer that Hollywood will be all too late in recognizing. Inspired by Woody Allen and Robert Altman alike, and a familiar cousin to FRANCES HA (the previous film co-written by Gerwig and Noah Baumbach) this is an urbane, smart, and ultimately wise comedy of manners.
  1. DOPE  Every minute of this film is thrillingly alive. A loving send-off to urban eighties films such as FRIDAY and BOYS IN THE HOOD, this movie manages to transcend genre. The coming of age story of an intelligent young black man trying to break free from his surroundings with help from his two just as poorly adjusted friends, is giddy and inspired and sexy. I believed these characters and rooted for them. A film can achieve this level of specificity only when it is allowed to be a singular vision, in this case, coming from the mind of Rick Fumuyiwa, who wrote and directed this film. Thank goodness for smaller films that still get made without studio meddling. On the list of this film’s achievements is also the altogether winning breakout performance from its lead actor, Shameik Moore. What a sweet, sweet film this is.
  1. KINGSMAN, THE SECRET SERVICE When was the last time a movie actually thrilled you, made you giddy with what was unfolding on screen. At one point, I found myself yelling (thankfully in my internal voice) at the screen: “Run, run, they are right behind you”. And I am for the most part a dour, unexcitable moviegoer. Like GUARDIANS OF THE GALAXY last year, THE KINGSMAN knows about joy. Not exactly a spoof yet also tipping its hat at Bond and Bourne films alike, THE KINGSMAN knows that the one thing most scarce in spy thrillers these days is good old-fashioned fun. And so it demonstrates how being goofy is not mutually exclusive with being clever. Maintaining a balance of polished urbanity and preposterous cheekiness on a minute-by-minute basis, the film also occasionally crosses lines of propriety with glee.
  1. FAR FROM THE MADDING CROWD This is the most romantic film of the year. A woman in 1890s Victorian England must decide between three men who individually represent ardor, stability and lust. Thomas Hardy knew a thing or two about women navigating a man’s world while circumventing the roles thrust upon them. And the surprise of this film is to realize how much is unchanged in the century and a half since Hardy wrote the novel on which the film is based. At one point, the lead played luminously by Carey Mulligan, says, “It is difficult for a woman to express feelings in a language made by men to express theirs”. Instead of a literate Merchant Ivory-like adaptation, or a feminist injunction, this big-screen treatment goes by a different ideal: swoon. It understands that true love is about the flicker of glances, the unsaid things between locking eyes. And Carey Mulligan and Mathias Schoenaerts glower like the best of cinematic foils. This is a film that is far more interested in images than in words.
  1. BRIDGE OF SPIES Spielberg has always been a filmmaker of grand actions. THE BRIDGE OF SPIES is his first film that is measured deliberately in small gestures; what we have here is the first anti-Spielberg film. And it a fine turn for him to make in his career. Initially reluctant to watch yet another Cold War thriller, I settled down with relish after the first half hour, surprised to find this a work of understated precision; there is a gleaming burnish to the craft and rigor with which the film has been created. More important are the questions asked. Does the vicious treatment of an American spy captured in Russia give Americans the licence to treat a Russian spy with matched cruelty? The human instinct has long been to abandon liberal values in pursuit of retaliation after the occurrence of something heinous. The blood-thirst for justice has trampled on decency repeatedly in history. BRIDGE OF SPIES, which is foremost an exceptional thriller, quietly makes a plea to be watchful about not losing our humanistic higher ground in times of conflict. This film will hold up well for Spielberg’s legacy.
  1. THE END OF THE TOUR This film recounts the 5 days spent by Rolling Stones reporter David Lipsky interviewing David Foster Wallace who had just published his masterpiece, ‘Infinite Jest’. But don’t let that description fool you. The meeting of two literary minds, one noticeably envious of the critical success of the other, and the second grappling with sudden fame as much as his own demons, forms the basis for the most literate and probing film to get a theatrical release this year. Without being reductive or pandering, the film asks questions about celebrity, ethics, fame, and selling out. The writing here never tries to simplify the two men; they are both complex, conflicted, contrary individuals. Jason Segal, playing Foster Wallace, evokes a person who has never swum mainstream and is caught unprepared when his book is suddenly declared a masterpiece, pushing him into limelight. How does one hold on to one’s true self, warts and all, whilst being demanded to be a commodity that can be marketed for easy consumption? Foster Wallace may come off as sometimes insecure, and petulant, and jealous, but he is also achingly, resolutely human. Jesse Eisenberg, playing Lipsky, delicately conveys the arc of a journalist who goes from respectful bystander to politely inquisitive questioner to crossing-the-line provocateur. You make two intensely intelligent strangers spend time together for days, and they are bound to combust. And yet, when Lipsky leaves at the end of the interview, the ache of loneliness in Foster Wallace’s eyes is one of the saddest things to be seen at the cinema screen this year.
  1. MR HOLMES  This film is, note for note, gloriously right. It takes one of the world’s most famous fictional characters (Sherlock Holmes) and makes something wistful, and wise and smart and complex and very mortal out of it. It works at many levels. At one level it is a Sherlock Holmes mystery. But it is also a rumination on Holmes as a ninety-three year old battling dementia. The terrific script and these fine actors (the chief amongst them, the incomparable Ian McKellan) tap into the futility of fully understanding human behavior. About the challenges, and yes the joy, of loneliness. About the necessity of exorcising guilt in the sunset of one’s life before it is too late. And it is about unlikely connections – in this case, between a once famous man now in exile in the ninth decade of his life and a ten year old boy. Like STILL ALICE last year, this film too holds a mirror to the horror of a formerly brilliant individual fighting to retain wisps of memory too quick to slip away. And yet, for all this existential inquiry, the structure of this film, and its plot, is neat, ordered, gleaming.
  1. SPY / THE MAN FROM U.N.C.L.E. / MISSION IMPOSSIBLE:ROGUE NATION  So singed is our skin from repeat burns from typical studio blockbusters, that when a big Hollywood film comes along and does something with poise, it takes our breath away. Such was the case with this triptych of stellar studio films released in 2015, all of which did the spy/action-film genre proud.                                                       Comedy is the hardest thing to do in cinema, and to do it well within genre conventions harder still. Melissa McCarthy finally gets lead material worthy of her, and one of the great joys of SPY is to watch how the movie is quietly, stealthily feminist. Look hard, look well, you will not find a single fat joke here. And McCarthy’s character may be caught off-guard when her fervent wish to be an on-the-ground spy is finally granted, but she is never inept; the filmmakers have no desire in watching their lead fumble. So many things are not right with the media we consume these days; we have substandard horror films tailored to teens playing in multiplexes every weekend and the Kardashians dominate television ratings. SPY somehow restores my faith in big-budget Hollywood films.                                                                                  THE MAN FROM U.N.C.L.E.  This is like a lost Bond film from the sixties. Stylish and sexy and tongue-in-cheek to a fault, this film harkens to a golden age of spy films that has gone obsolete because of our relentless need to re-imagine everything as dour and dark and brooding; I call it the Nolanization of the cinematic universe. This film doesn’t just have the surfaces of a sixties flick, it has the gait of one. Characters talk like they did in Howard Hawks films, rapid-fire and too smart by half. Henry Cavill and Armie Hammer play dueling spies from US and Russia, forced to work together, while Alicia Vikander and Elizabeth Debicki hold their own as femme fatale to be reckoned with. What higher compliment than to say that this film reminded me of THE TALENTED MR. RIPLEY in its sensibility.                                    Let’s count the ways that MISSION IMPOSSIBLE: ROGUE NATION gets things right. Instead of the skinny teenage supermodel that Hollywood likes to routinely dole out as the female interest for such ventures, lets praise those who picked Rebecca Ferguson and gave her a meaty role: as a character who not only stands shoulder to shoulder with Tom Cruise’s Ethan Hunt, but bails him out repeatedly (it is surely no coincidence that Ferguson has more than a passing resemblance to Ingrid Bergman, also a Hollywood import from Sweden). She takes her heels off before launching into action, thank you very much! (Bryce Dallas Howard, take note!). When James Bond is bent over under the weight of the world these days (see Nolanization of the cinematic universe above), it is refreshing to see Ethan Hunt take over duties from Bond as the exuberant and yes, sometimes outlandish spy; the release of SPECTRE later this year didn’t help dispel these concerns. The scene in the Vienna Opera House, adroitly and patiently layered, and implemented with crisp precision, is alone worth the price of admission. And finally let us give thanks to the script writers for avoiding any overtly romantic ties between the Cruise and Ferguson characters.
  1. THE GOOD DINOSAUR  The otherPixar film released in 2015 has taken up a lot of ink, and rightly so; INSIDE OUT is a grand act, working at multiple levels and taking on nothing less than an exploration of how our brains react, often irrationally. But INSIDE OUT has been celebrated enough; just because THE GOOD DINOSAUR is more traditional, and more simple-minded in its storytelling, does not make it any lesser an accomplishment. In another year, DINOSAUR would have been lauded for a return to form for Pixar to the sort of clean, open-hearted and emotionally resonant storytelling that the studio has built its reputation upon. But somehow critical opinion about the film has been bogged down by accusations that the story is too dark. But that isn’t fair; didn’t BAMBI or DUMBO or even Pixar’s own UP deal with darker themes of death and abandonment. THE GOOD DINOSAUR is a lovely, straight-up entertaining, coming of age tale.
  1. McFARLAND, USA When a good sports film works, it really works. This one is based on a true story. A fallen from grace football coach (Kevin Costner) gets assigned to a school in the titular small town in Central California and realizing that the predominantly Hispanic kids in school are uncommonly good at running, he decides to coach them for a cross country track team instead. This film by Niki Caro (WHALE RIDER) has a terrific sense for place. Of farming towns populated by migrant families that pick produce. Of cultures that assimilate. Of people living simple lives. And that is enough. Even as the film proceeds exactly as expected, by refusing to insult its characters and by regarding them without judgment, its observations ring with truth. This film will not be on many best-of-year lists, but it merits wider recognition.
  1. THE CLOUDS OF SILS MARIA This is unashamedly an ouroboros of ideas that eat themselves. This latest work from Olivier Assayas is an experiment, a puzzle. It is unrepentantly intellectual.  But it is also gloriously meta about all things cinema. Inspired by everything from ALL ABOUT EVE to SUNSET BOULEVARD to Chekov’s THE SEAGULL, this film has much to say about celebrity, its waning with time, and the price it takes to stay in the public’s consciousness. A famous actress of a certain age (Juliette Binoche) agrees to play the older character in a revival of the two-hander play that first made her famous in the role of the younger ingénue. Her smart, strong willed personal assistant (Kristen Stewart) tries to handle things, both prosaic and emotional, swirling in her orbit. And Chloe Grace Moretz plays the Hollywood starlet who will be taking on the younger role, even as she is trying to keep an affair with a married man under wraps. If the characters in the film are aware of their similarities to those in the play they are rehearsing, they do not let on. The relationships in the film are amorphous, resisting classification.Look closer; is some of this a reflection on Kristen Stewart’s own real life, having been the Hollywood It Girl and having survived a media storm related to her relationship with a married director? It is all part of the clumped ball of yarn given to you to try to untangle.  If you love and breathe cinema, then you need to watch this film. It doesn’t give easy answers, and yet the film has a fully satisfying ending. It is a conclusion based on words, not flashy plot contrivances.

In another year, I would have pridefully defended any of the top five as the best film of the year. If you ask me another week, I will likely change the order of those top five films. This is a good problem to have when faced with an embarrassment of riches, such as we did in 2015. Other worthy films that could not make it on the list include INSIDE OUT, BLACK SEA, CARTEL LAND, WHILE WE’RE YOUNG, AMY and TANGERINE. What a year this has been.

San Diego Film Critics Society | 2015 Nominations announced


The San Diego Film Critics Society, of which Moviewallas is a proud member, just announced its nominations in all categories. This represents our take on the best in film this year. And in keeping with a particularly rich and diverse year for cinema that 2015 has turned out to be, the picks are wonderfully varied.  The blockbusters are represented (THE MARTIAN, MAD MAX:FURY ROAD) as are smaller gems of movies that need a wider audience (EX-MACHINA, ROOM, BROOKLYN). Soon to be released major releases (THE REVENANT, THE HATEFUL EIGHT) figure on our nominations as do  films that swim away from the mainstream (ANOMALISA, WHAT WE DO IN THE SHADOWS, TANGERINE). All deserve your attention.



The films to receive BEST PICTURE nominations were EX-MACHINA, a sly, sexy-cool examination of the meaning of artificial intelligence, BROOKLYN, a warmly nostalgic film about an Irish immigrant in the fifties, MAD-MAX: FURY ROAD the high-octane fourth entry in the franchise in which the veteran director George Miller showed an entire new generation of action filmmakers how it is done, ROOM, a searing and heartfelt meditation on the need for recovery, and  SPOTLIGHT, based on the rigorously painstaking Boston Globe investigations of priest-related sexual abuse cases in the area. We couldn’t have picked a more different group of films had we tried. We even have a brand new category this year in the form of BEST NEW BREAKOUT ARTIST. Our group will be doing the final voting on Monday, and winners will be posted here.


Here then are the nominations in each category:



Best Picture







Best Director

George Miller, MAD MAX: FURY ROAD

John Crowley, BROOKLYN

Lenny Abrahamson, ROOM


Alejandro Gonzalez Inarritu, THE REVENANT


Best Actor, Male

Leonardo DiCaprio, THE REVENANT



Bryan Cranston, TRUMBO

Jacob Tremblay, ROOM


Best Actor, Female

Saoirse Ronan, BROOKLYN

Brie Larson, ROOM

Charlotte Rampling, 45 YEARS

Charlize Theron, MAD MAX: FURY ROAD

Alicia Vikander, EX MACHINA


Best Supporting Actor, Male



Oscar Isaac, EX MACHINA

Paul Dano, LOVE & MERCY



Best Supporting Actor, Female

Alicia Vikander, THE DANISH GIRL

Jennifer Jason Lee, THE HATEFUL EIGHT

Helen Mirren, TRUMBO




Best Original Screenplay

Noah Baumbach, Greta Gerwig, MISTRESS AMERICA

Alex Garland, EX MACHINA

Jemaine Clement, Taika Waititi, WHAT WE DO IN THE SHADOWS

Quentin Tarantino, THE HATEFUL EIGHT

Tom McCarthy, Josh Singer, SPOTLIGHT


Best Adapted Screenplay

Nick Hornby, BROOKLYN

Emma Donoghue, ROOM

Charlie Kaufman, ANOMALISA

Donald Margulies, THE END OF THE TOUR

Drew Goddard, Andy Weir THE MARTIAN


Best Documentary







Best Animated Film







Best Foreign Language Film







Best Editing

Margaret Sixel, Jason Ballantine MAD MAX: FURY ROAD

Joe Walker, SICARIO

Pietro Scalia, THE MARTIAN


Nathan Nugent, ROOM

Stephen Mirrione, THE REVENANT


Best Cinematography

Roger Deakins, SICARIO

Yves Belanger, BROOKLYN

Dariuz Wolski, THE MARTIAN


Emmanuel Lubezki, THE REVENANT


Best Production Design

Colin Gibson, MAD MAX: FURY ROAD

Mark Digby, EX MACHINA


Francois Seguin, BROOKLYN

Adam Stockhausen, BRIDGE OF SPIES


Best Sound Design







Best Visual Effects







Best Use Of Music In A Film







Breakthrough Artist


Jacob Tremblay, ROOM

Emory Cohen, BROOKLYN


Sean S. Baker, TANGERINE


Best Ensemble 









Best of 2014 | Yazdi’s Favorite Films

Why do we watch films?

I tend to get introspective this time of year when starting to think about the best films of the past 12 months. I am a listomaniac so I relish coming up with the films; that is not the problem. It is the paring down to come up with the top ten, or even the top fifteen that is excruciating. I have never understood those who bemoan that there are hardly any films worth celebrating from the past year. For me this is akin to those who complain that there is never anything good to watch on Netflix; I do not know what to tell them when I have more than 200 films on my Netflix queue.

This year I am more list-happy than usual. So apart from the list below of my overall personal favorites of the year, I will also be posting a list of the top mainstream films, as well a list of the best films watched at film festivals in 2014.

I think we watch film because film is the great equalizer. Once the lights go down and it is dark in that theater, it puts us all at the same station. All the inequalities of our each individual real worlds, those inherited and those thrust upon us, dissolve away. Social, economic, professional and physical labels all look the same in the dark; they are invisible. And for a short while, we can get lost uniformly in someone else’s world.  Which is why my criterion for picking movies for the year-end list has remained the same year after year: that each movie should have altered something within my emotional circuitry.But let me come back to my original question. Why do we watch films. Why should film matter. This year, being in India during the last week of the year, these questions became somewhat irrelevant. Because film in India is so intricately woven into the fabric of what makes this country what it is, that to isolate cinema and ask of its meaning is purposeless. All those who bemoan the death of publicly screened movies should book a plane ticket to Mumbai and walk into a theater here. And watch how the masses consume film. How they truly lap up film. Like a child consuming a ripe mango. With an almost obscene relish. With an abandonment of the real world that is at first embarrassing, and then unexpectedly comforting. Families come, hand in hand and filter into rows like ants. They jump out of their seats with righteous pride when the Indian national anthem is played before the start of the film, waiting until the last note is played before settling back. They squeal with glee. They talk at the screen. They warn the characters of impending danger. They openly cheer at the protagonist. They talk to each other.  They clap. They eat: covertly brought snacks from home as well as foods purchased during the intermission (yes, there is an intermission, if not formally built into the movie in Indian films then forcibly and often ineptly cleaved into American films). If I sound nostalgic it is because this is how I consumed cinema growing up and I now miss this reckless embrace of cinema, this utter surrender to the joy of it, that is somehow absent in the West. Just this year I shrugged off threats of bodily harm received when I asked someone to stop talking during a screening in San Diego. And yet, and yet, during a screening in India this week, I did not have the heart to ask the same of the audience here; besides it would have taken me the full running time of the movie to make my way through to everyone who was talking during the movie.

What does it say that my top four films (and five out of the top fifteen) are foreign movies. Only that the best in cinema, as always, comes from everywhere, and those who willfully choose to watch only American/English movies do so to their great detriment.

And so here are my personal picks for the best of the year:

  1. THE LUNCHBOX:This film excels at the one thing that often evades Indian cinema: subtlety. A neglected young housewife builds a connection with an older widowed man when lunches she packs for her husband mistakenly get delivered to the other man. The film’s accomplishment is in how deftly it transcends the cliché of two strangers helping each other out. It does so by avoiding a face to face meeting between the two; much of their interaction occurs through handwritten notes accompanied with the lunchbox. The delicate tone so wistfully maintained early in the movie is ruined in the last act when the script tries, very unwisely, to force a romantic beat to the interplay between the two, but when you have as fine an actor as Irrfan Khan at the peak of his abilities it pulls the film through.
  1. ENEMY:What a glorious mind-fuck this film is. A man becomes aware of another who looks exactly like him; even as he tries to reach out to him, the lives of the two start to bleed into each other. Are the two doppelgangers the same person? Is the entire film a documentation of a mind coming undone. Or is it about the necessary duality in each of us. Based on the book by Jose Saramago, the film has no interest in providing easy answers; those insistent on a FIGHT CLUB like reveal should look elsewhere. But the stories of the two men (played with impressive dexterity by Jake Gyllenhaal) play out with a pleasing directness that it should remedy concerns about the film being too opaque. Extra credit: ENEMY will easily make it on any list of movies with the most shocking/perplexing/WTF endings. ENEMY is currently streaming on Netflix
  1. LOCKE: Like BOYHOOD and BIRDMAN, detractors have called LOCKE a gimmick. But what you might call a gimmick is to me the cinematic equivalent of jumping off a cliff without a safety net. All three films could have fallen flat on their faces on the basis of their innovation. All three are on my best of the year list. The entirety of LOCKE is filmed around a single character driving a car over the course of one night. That is it. As the night wears on, we realize this is a story about a man having arguably the worst night of his life. Tom Hardy plays this individual with slippery insight and writer director Steven Knight takes time to peel away at his motivations. We know the crises this man is facing and has to necessarily resolve while he is driving, but we do not know if he has had these coming to him. Not everything about the film works, but I will never begrudge a film that is able to commit original sin.
  1. A MOST VIOLENT YEAR: What richness of contradictions we have here. In a film called A MOST VIOLENT YEAR, you will find very little blood. For a film set in the late 70s, it easily speaks to contemporary themes of corporate greed and responsibility (which is not surprising considering this is from a filmmaker whose first film was MARGIN CALL). And for a mobster crime drama, it is surprisingly moody, some might say glacial even. I believe it is this slow burn that turned off many reviewers. But the simmer pays off as the movie builds a genuine sense of unease, of impending doom. Not interested in indulging in the conventions of the genre this film belongs to, J.C. Chandor instead has crafted the film as a character study of a man trying to do right. In an inherently criminal playing field. Two years in a row now, Oscar Isaac has provided indelible portrayals of men undone by self-destructive behavior that is inseparable from who they are (with FINDING LLEWYN DAVIS and A MOST VIOLENT YEAR).
  1. THE THEORY OF EVERYTHING:Much attention has been given to this handsome biopic about Stephen Hawkins, based on a memoir written by his wife. To the handsome cinematography and exacting recreation of a time and place from the past. To the handsome love story of a man many consider more intelligent than any that lived and the woman who stood beside him through his cruelly unimaginable physical deterioration. In fact there is a burnish of handsomeness through much of this film, a sense of rigorous craft with which the film has been put together. I will not begrudge any of those things. But that is not the reason this film is on this list (when say, THE IMITATION GAME is not). The film’s great accomplishment in my mind comes from its second act, when it follows Hawking and his wife through their latter years, much after the moony romanticism from their early years has faded. And it is the unflinching, level-headed honesty with which it regards these characters through the passage of time that the film rises above genre biopic conventions. The script’s refusal to readily submit to pat moral judgments about the two or to obviously tip its sympathies toward one or the other in the couple makes for the best part of this film. The most robust of loves are vulnerable to the cruelties of everyday happenings and it is a wise film that is able to go deep into these murky waters and come out with integrity.
  1. NIGHTCRAWLER: A man trains himself to be a crime photographer in Los Angeles and shows uncommon acumen in negotiating the use of his footage to the local television news stations. There is always something a bit off with the title character, masterfully played by Jake Gyllenhaal, but one of the joys of the film is to realize with sinking fear that there is no line this man will not cross to capture newsworthy crime footage.A film free from moral tether is a film liberated. And Dan Gilroy uses this setting to provide commentary on much of our contemporary mores. In its final act the film descends into a rarified other dimension of queasy disquiet, where you start at the screen the way you cannot look away from a road accident. What great, twisted fun this movie is. This film should have been celebrated at year end as this generation’s NETWORK. And yet it got precious little love. In fact the San Diego Film Critics Society was the only reviewing group to lavish awards on the film.
  1. MR PEABODY AND SHERMAN:The most intelligent individual on the planet, who just happens to be a dog named Mr Peabody takes a human kid (Sherman) through several adventures by way of a time-travel machine. This first feature film based on the Peabody and Sherman television shorts from several decades ago is frankly a minor miracle. It is giddily, wonderfully alive. It is cunningly devious in pulling in history lessons in the guise of time-travel adventure. It is visually as glossy and gleaming and wondrous as any film released in the year (animated or otherwise). But the greatest reason I consider this film a minor masterpiece is the slyness with which it slips in its message of acceptance. When late in the film, strangers in a crowd start saying, one after another, “I am a dog” in defence of Mr Peabody’s right to keep Sherman as his son and family, it was one of the most emotional cinematic moments for me all year. MR PEABODY AND SHERMAN is currently streaming on Netflix.
  1. BOYHOOD: A boy grows up and a film for quietly observes him. It observes him and it observes those around him including his separated parents. Much has been made of the fact that director Richard Linklater had his camera watch the same actor over a period of 12 years, and many have brushed this aside as a gimmick. And yet no one had thought to do this until now. But set aside the thrill of watching the contours of a face change on screen, watch hair bow to the wind of contemporary styles. Even if Linklater had hired separate actors of different ages to play this role, this would still be a great film. Because he makes the brave choice on every page of his script to avoid epiphany, to steer clear of melodrama, to have this be a story of banal everyday happenings. But isn’t that the nature of memory, a series of disconnected unremarkable personal remembrances. Having a film be able to capture the inscrutable and to do it with grace and understatement and to have it mean something is no small accomplishment.
  1. BIRDMAN:This film could have been insufferable. But instead it becomes the cinematic equivalent of jumping off a cliff without rope or safety net. It is the story of a has-been star of superhero films who makes one last ditch effort at being relevant by taking on a role in a Broadway play. That is nominally the synopsis of the plot. But I see the film as a study of a person slowly coming undone. A study of a person trying to handle demands both professional and personal, and losing control of the real from the imagined. We could be far more mentally unhinged than our self perception, this film is trying to tell us. And then there is the part about how the film has been shot: Alejandro Gonzales Inarritu, known until now for films with disparate story lines that converge together (AMORRES PERROS, 21 GRAMS, BABEL) does the exact opposite with this film. Oh, and the one thing that there is universal agreement on, is that nobody knows what to make of the ending.
  1. PRIDE:This is the epitome of the feel-good movie. That nobody saw. Why this film didn’t get more love at the box office is baffling. The film carries a 92% rating on the Tomatometer, and the movie all but guarantees that audience members will leave the theater in a cloud of elation. So write the name of this this film down for the next time you are at a loss of what film to rent. The film is based on the real-life events surrounding Welsh mineworkers on strike during Thatcher-era UK who got unexpected and unsolicited support from a gay and lesbian activist group out of London. At first the mineworkers wanted nothing from this group, but gradually warmed up to how they might assist their cause. This film is a case study on how to avoid the sentimental, the hackneyed and the contrived. Every scene here rings with authenticity. And the film pulses with a hard-earned and quiet combination of dignity and anger. Even as it gets to dismal and dark places, the film ultimately demonstrates, with enviable subtlety that the disenfranchised are all the same. Seek out this film at any cost.
  1. THE EDGE OF TOMORROW:This is a fully realized piece of science fiction that is thrillingly alive. How many films about man versus aliens have we seen by now, and frankly what more is left to say? It turns out, plenty. In the hands of Doug Liman, this movie gets shot by shot, scene by scene, component by component, everything right. The movie takes a simple doozy of a premise (based on the book ALL YOU NEED IS KILL) – that of a reluctant soldier caught in a time-loop in which he keeps dying again and again and looping back through the same few days before his death until he is able to find a way to prevail during the alien warfare – and builds a funny, richly executed narrative around it. Say what you will about Tom Cruise but he never phones in a performance, and Emily Blunt has never been better playing a fully convincing badass sergeant. There is an obvious homage to GROUNDHOG DAY with Blunt’s character named Ritam and the battle scene that plays again and again in France is meant to evoke the Normandy invasion. But forget all that and just enjoy what is the best action film of 2014. The film understands that the best sci-fi stories are about ideas, and not about spaceships and aliens. It is blissfully good.
  1. THE WAY HE LOOKS;This film (HOJE EU QUERO VOLTAR SOZINHO) was Brazil’s submission to the Best Foreign Film category at the 2014 Academy Awards. It tells the story of Leo, a somewhat shy teenager. He is blind and aware of his place in school due to his disability. Leo’s best friend since childhood has been Giovana and the two are inseparable; in many ways he sees the world through Giovana’s eyes. Enter the unreasonably amiable new student at school, Gabriel and Leo and Giovanna’s friendship will need to be redefined. Who hasn’t experienced the dynamics with a friend change due to the necessary introduction of a new person Nothing in this film is what we haven’t seen before. And yet, the film is written, acted and played out with such a matter of fact honesty and simplicity that it rises up to be one of the better films of the year. The Way He Looks makes its observations without fuss, without drama, and without prurience. So what if the lead character is blind. So what if he happens to fall for another guy. Without tilting into caricature, the film strikes authenticity while never submitting to melodrama. One The Way He Looks can do. more good than a hundred after-school specials about tolerance. Yes The Way He Looks may just be a teenage love triangle set in Brazil, but it is the best example of its kind to make you realize that sometimes a truthful story told with a good heart is all it takes. When films these days are seemingly only interested in hipster posturing and cynicism, the most provocative thing of all may be a film that gifts viewers with genuine sweetness. THE WAY HE LOOKS is currently streaming on Netflix
  1. LIKE FATHER LIKE SON:Two couples find out that their five-year old sons had been switched at birth.Think about this premise, and then imagine what most filmmakers might have done with it. To see what Hirokazu Kore-Eda does with this story is to recognize why he is one of the master filmmakers. The film presents a fascinating moral quandary. The discovery of a son you weren’t previously aware of is one thing. But that still cannot match the anxiety of knowing that the child you did rear as your own now legally belongs to other parents who could forcibly take him away. This story could have lent itself to any manner of tonal or stylistic construct. This might have been a bitter, angry film. It might have been a legal procedural. It might have been a deep, soggy wallow of a movie. But LIKE FATHER LIKE SON is none of those things.  Instead the film is elevated because the treatment given to this material is one of quiet observation. Kore-eda has been called an heir to Ozu for reason, not least because of his ability to watch his characters from afar without judgment. And this movie is no exception. It has no interest in melodrama; you will not find a shrill note here. And then there is the one thing about Kore-Eda’s work that makes him one of my favorite filmmakers: he refuses to create villains. There isn’t a mean character in any of his films.  How easy it would have been for this film to tip over, if even very subtly, with its sympathies toward one of the two couples. It would have been easy to call the rich couple out for their patronizing, intellectual detachment, or call the other couple out for being irresponsible and crude. But the film resolutely does not. It quietly makes it clear that each set of parents are well-meaning and generous in their love for their children.  They may be flawed, but both sides are inarguably decent. It is in this recognition of the decency of those who love a child that the film ultimately provides an abiding definition for family; the only one that matters.  That it does so apolitically, unemotionally and with authenticity, is cause for gratitude. LIKE FATHER LIKE SON is currently streaming on Netflix
  1. TWO DAYS ONE NIGHT:Are there more humanist filmmakers working right now than the Dardenne brothers? They have been making exceptional films for a long time, but with TWO DAYS ONE NIGHT they hit a perfect stride, bringing forth a clear, focused story with uncanny insight. And empathy. A woman who returns to work after a long break due to illness finds out that her job has been eliminated and her salary will be distributed as bonus amongst the 16 workers who covered for her during her absence. When she pleads to have her job back, she is told she can have it if she can over the course of a weekend, convince each of her coworkers to give up their bonus. Presented as a simple ethical quandary, this story is about all of the issues that matter today: the crumbling economy, people losing jobs, and the increasing loss of humanity in the great industrial shuffle. This film has one of the best depictions of a functioning clinically depressed individual on screen. And Marion Cotillard, in an Oscar nominated lead performance, breaks your heart. Each time she rises above everything that is pushing her down: her crippling depression, the loss of her job, the pain of having to asking another economically strained colleague to give up their bonus for her sake, every time she smiles in spite of all of that, it is an inconsequential victory. But it breaks your heart. Cotillard plays this character as a broken person. But she never strains for audience sympathy. And in a key scene toward the end of the film, her immediate reaction to a situation quietly demonstrates that she may be emotionally broken, but she has all the strength of character where it matters most. In all the films in all of 2014 that I saw, this is the only one with a fully, acutely human character. The only one breathing the warm exhale of life.
  1. FORCE MAJEURE: What a film this is. Pushing all the right buttons for me, I watched it with rapturous wonder. At different times, somber, probing, achingly funny, wise and damning, this is cinema for those who love cinema. What is it about? Conceptually, oh about a hundred things, but it is nominally about a seemingly perfect young family that completely unravels when they are presented very suddenly with a life-and-death situation. One spouse reacts a particular way and will not be forgiven for that by the other spouse. The most pervasively dominant of all human instincts, the one that prevails even over the basic instinct to protect our own is that of survival of the self. The film’s principal moral inquiry is whether we as a society are less forgiving of men than women when faced with such situations. First of all, FORCE MAJEURE is majestic from a technical standpoint. Some filmmakers have a spark to their work; you can sense a grandness, a flourish to every scene in their films. You can sense this in the films of Fincher, Nolan, the Coen brothers, and Welles. Writer-director Ruben Ostlund is a master aesthetist and earns the right to be compared to those filmmakers. There is an obvious pivotal scene in FORCE MAJEURE around which the entire film pivots and that alone is worth the price of admission for its technical grandeur. But set that money shot aside; even then, the film is remarkable for how neatly and studiously the shots have been culled together, with beautiful long, long takes that both present as challenges to the actors, some of them kids, and at the same time allow them to do remarkable work. The script here makes wry observations about the the soft, vulnerable, unexamined, scrupulously ignored underbellies of relationships as it focuses its gaze on several couples. And even when the gaze is terse, there is an intelligence to the examination that is exacting, precise. And lest this sound too lofty, I want to assure you that there is easily earned humor at every turn in this film. And wit. At one point, upon returning to their room after a testy dinner conversation, the wife tells her husband: “What’s wrong? That’s not us!” It is a marvelous way to think of one’s relationship. This is the quintessential film that will trigger intense debate after viewing. FORCE MAJEURE is currently streaming on Netflix