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Instead, Nolasco often tries to reassert Dry Wind as a film with an actual plot. Jane Got a Gun Awards and Nominations. Her work expands our notions of concepts and institutions central to contemporary life by interrogating the audiovisual imprints that define them in the public consciousness. Surface Laptop Go; Surface Pro X; Surface Go 2; Surface Book 3 Darius Marder’s film captures, with urgency and tenderness, just how enticing the residue of the past can be. Though someone like Zora could easily have been a thin antagonist, you instead feel the context of age, beauty norms, and societal pressure that shaped who she is and what she wants to do. Review: Borat Subsequent Moviefilm’s Satire Could Use Sharper Teeth, Adam Nayman’s Paul Thomas Anderson Masterworks Honors PTA’s Ambiguities, NewFest 2020: Dry Wind and Alice Júnior Take Aim at the Patriarchy in Brazil, Review: Synchronic Undermines Its Delightful Strangeness with Handholding, Review: Sound of Metal Is a Tender, Singular Portrait of Addiction, With “Positions,” Ariana Grande Aims to Set Her Status as Pop’s Reigning Princess, Review: Beabadoobee’s Fake It Flowers Evokes Nostalgia Like a Childhood Bedroom, Review: Bruce Springsteen’s Letter to You Is More Homecoming Than Retread, Review: The Mountain Goats’s Getting Into Knives Is Overproduced and Under-Thought, Review: Star Wars Squadrons Takes Star Wars Fans on a Ride They Deserve, Review: Ikenfell Has a Narrative that Considerably Out-Charms Its Combat, Review: Spelunky 2 Spit-Polishes a Familiar Formula to Near-Perfection, Review: Marvel’s Avengers Forces You to Run the Games-As-a-Service Hamster Wheel, Review: No Straight Roads Is Richly in Tune with Its Personal Themes, Review: Season 3 of Star Trek: Discovery Remains Stuck in the Future’s Past, Review: The Good Lord Bird Infuses an Abolition Story with Wry, Dark Comedy, Review: Fox’s Next Is an A.I. Tribes of Europa. The pastels are traded in for industrial nighttime hues, and cellphones and other modern bric-a-brac are suddenly visible, while the posh suburban neighborhoods, with their kids who can afford to go to dances that whisk them off to neverland, are traded in for strip malls with disaffected teens and working-class parents who’re pushed by their disadvantaged children to the brink of insanity. The film isn’t nostalgic, as it argues that the past is awful, and that the present a delicious miracle. Seeking to refute the Horatio Alger element of a particular auteur worship, in which a body of work is discussed chronologically, with a filmmaker’s maturation noted with easy retrospection as a kind of manifest destiny, Nayman assembles Anderson’s films in chronological order according to the time periods in which they’re set. ... An imaginative young squirrel leads a musical revolution to save his parents from a tyrannical leader. Parents: Set preferences and get age-appropriate recommendations with Common Sense Media Plus. These works of horror-tinged science fiction draw the viewer in through their ambiguous relationships to traditional space and time; they’re complicated puzzles, and a good part of their fun is trying to fit the pieces together. So much about this film feels like it was almost fated to come together: discovering Emahoy Tsegué-Maryam Guèbro’s music through YouTube algorithms, Fox Rich giving you her archive and transforming the project, the cosmic parallels revealed in the edit between the footage you shot and her videos. They’re choppily and timidly edited in ways that direct the eye away from the action, as if to obscure any hokeyness that might become apparent from close scrutiny. But the calls soon start to get weirder: someone who seems to have spontaneously combusted, someone bitten at a hotel by a nonnative species of snake, and someone in pieces at the bottom of an elevator shaft. It’s the sound of agony and ecstasy intertwined—a form of sonic transcendence that is, for Ruben, every bit as alluring as the heroin addiction that he kicked some four years earlier. Conflicting details give the impression that the film is divorced from time, with the children’s clothes—long and flowing dresses, gaudily ill-fitting suits—suggesting holdovers from the 1970s.


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