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Michael SicinskiCinema Scope |
By Michael Sicinski Apolline Traoré’s latest film is direct, and in times of political strife there is undoubtedly something to be said for...
By Michael Sicinski Godard’s first posthumous work could be taken as a suicide note for cinema itself. Throughout his career, Godard repeatedly...
By Michael Sicinski In all likelihood, Frederick Wiseman is already prepping his next project. He is indefatigable. But if it happens that...
By Michael Sicinski Hur Jin-ho made his reputation on a handful of romantic dramas that were distinguished by their light touch and quiet rigour. It...
By Michael Sicinski El Custodio (2006), the last of Rodrigo Moreno’s films to really gain traction on the festival circuit, was a grim but...
By Michael Sicinski Ambitious but flawed, Four Daughters exhibits the signs of a director punching above their weight class. Ben Hania’s previous...
By Michael Sicinski A fairly conventional film in punk attire, Spirit of Ecstasy suggests what might have happened if Lisbeth Salander had decided to...
By Michael Sicinski Published in Cinema Scope #96 (Fall 2023) A few years ago, I interviewed the artmaking team of Dani and Sheilah ReStack, a...
By Michael Sicinski The third feature film by Filipino experimentalist Miko Revereza may be his most conventional work to date. But as one settles...
By Michael Sicinski The governing formal conceit for Asmae El Moudir’s feature debut would have been more impressive had Rithy Panh not beaten her...
By Michael Sicinski This year, along with his somewhat more experimental featurette Man in Black, Wang released Youth (Spring), a 3 ½ hour...
By Michael Sicinski. Cody Lightning’s mockumentary, a pseudo-sequel to Smoke Signals (1998), received some vicious reviews following its world...
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