‘Elton John: Never Too Late’ Review: The Award-Winning Musician Sings a Final Farewell to His Fans and For Himself | TIFF
There are only so many ways to capture an icon on film. In Elton John’s case, there are now two. In 2019’s Rocketman, the superstar’s... Read More
Alejandra Martinez
Alejandra Martinez is an award-winning writer, film critic, and archivist based in Austin, TX. She is a member of the Austin Film Critics Association. Her writing has been published in multiple outlets including The Austin Chronicle, The Wrap, RogerEbert.com, and Letterboxd Journal.
‘On Becoming a Guinea Fowl’ Review: Rungano Nyoni Blends Fantasy and Reality in Daring Story of Generational Trauma and Relief | TIFF
A car passes along a dark road at night, then stops when a body appears. The driver, dressed like Missy Elliot in the music video... Read More
‘The Life of Chuck’ Review: Mike Flanagan’s Offbeat Stephen King-Based Tom Hiddleston Drama Mostly Hits the Mark | TIFF
“Do I contradict myself? Very well then I contradict myself, (I am large, I contain multitudes.)” So goes Walt Whitman’s classic poem “Song of Myself.”... Read More
‘The Substance’ Review: Coralie Fargeat Feeds Us Moore Gore in Blood-Soaked Rumination on Female Body Image | TIFF
Women know body horror all too well. Before we can even really grasp what they mean, the standards embedded in us tell us our bodies... Read More
‘The Last Showgirl’ Review: Gia Coppola Gives Pamela Anderson the Role of a Lifetime in a Performance of Tenderness and Grace | TIFF
There is a scene towards the latter half of Gia Coppola’s The Last Showgirl that encapsulates the lonely, tender heart of the film. Shelley (Pamela... Read More
‘Dahomey’ Review: Mati Diop Creates a Mesmerizing Artifact of Time Itself | TIFF
How do you tell a story about the return of something precious? About a homecoming? In Dahomey, which won the Golden Bear at the Berlin... Read More
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Interview: ‘The Substance’ Special Makeup Effects Designer Pierre-Olivier Persin on Transforming Demi Moore and Margaret Qualley into a Funhouse of Horror and Using 4,000 Gallons of Blood