With his follow-up to Force Majeure, Ruben Östlund returns to the mocking tableau style of his earlier movies with a satire of middle-class complacency and pretension that’s much less than the sum of its best sections, says Giovanni Marchini Camia.
Valeska Grisebach’s stunning existential study of masculinity tips its hat to classic genre cinema even as it casts an extraordinary troupe of non-professional actors as its grizzled migrant construction workers in a foreign land, writes Giovanni Marchini Camia.
Giovanni Marchini reports on a marathon all-night reverie with Apichatpong ‘Joe’ Weerasethakul’s filmic lullabies – five of his features and 29 of his shorts – and wonders, as dawn broke and the films grew darker, if Joe has lost his joy?