Savina Petkova

Berlinale 2022 review: Charlotte Gainsbourg shines in ‘The Passengers of the Night’ from Mikhaël Hers [Grade B-]

The Passengers of the Night opens with a title card announcing the date: May 10th, 1981. In recent French history,… Read More

February 17, 2022

Berlinale 2022 review: In ‘Taurus’, Machine Gun Kelly exorcizes his stardom [Grade B+]

Almost a decade after Memphis (2013) depicted the spiritual journey of musician Willis Earl Beal, filmmaker Tim Sutton returns to… Read More

February 15, 2022

Berlinale 2022 review: François Ozon’s ‘Peter von Kant’ plays out as an ambitious but flat homage to Fassbinder [Grade C-]

It’s been 50 years since Rainer Werner Fassbinder’s The Bitter Tears of Petra von Kant premiered at Berlinale and to… Read More

February 10, 2022

Venice Review: David Gordon Green expands the limits of trauma with ‘Halloween Kills’ [Grade: B]

‘Evil dies tonight’, or tomorrow – that’s the motto uttered at some point by every single character in Halloween Kills,… Read More

September 8, 2021

Venice Review: Audrey Diwan’s abortion drama ‘Happening (L’Événement)’ bares all but leaves its lead an empty vessel [Grade C-]

The initial idea for Audrey Diwan’s Happening (L’Événement) came from a famous French autobiographical novel, written by Annie Ernaux in… Read More

September 6, 2021

Venice Review: Tim Roth and Charlotte Gainsbourg seethe in the Mexican heat of Michel Franco’s ‘Sundown’ [Grade: B]

Michel Franco returns to the Lido just one year after his New Order won the Silver Lion Grand Jury Prize,… Read More

September 5, 2021

Venice review: ‘True Things’ cements Harry Wootliff as the master of new British drama [Grade: A-]

Three years after premiering her BAFTA-nominated debut feature, Only You, British filmmaker Harry Wootliff returns to the festival circuit with… Read More

September 4, 2021

Venice Review: With ‘The Lost Daughter,’ Maggie Gyllenhaal exposes mother-daughter relations in their vile, discomforting essence [Grade: B]

Leda, a middle-aged comp-lit professor, arrives at a lavish Greek island accompanied solely by her books. Played by an overwrought… Read More

September 3, 2021

Venice review: The road to redemption is a long and rocky one in Paul Schrader’s ‘The Card Counter’ [Grade: A]

“If not for the money, why play?” – “It passes the time,” says professional gambler William Tell (Oscar Isaac) when… Read More

September 2, 2021

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