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Search resuls for: "Natalia Winkelman"


5 mentions found


☆ ‘The Peasants’ Review: A Village Rendered in Oils
  + stars: | 2024-01-25 | by ( Natalia Winkelman | ) www.nytimes.com   time to read: 1 min
The painstaking process behind “The Peasants,” the new painted film exercise from DK and Hugh Welchman, is only laid out after the film ends. As the credits roll, the directors show clips of painters viewing reference footage and then reproducing the images in oil on canvas, sometimes frame by frame. The filmmakers pioneered the inventive animation technique on their previous feature, the Oscar-nominated “Loving Vincent,” and they apply it here to a story of sweeping scale. Based on Wladyslaw Reymont’s novel, “The Peasants” follows Jagna (Kamila Urzedowska), a young woman in 19th century Poland who is driven into a loveless marriage with a wealthy widower (Miroslaw Baka) despite her ongoing flirtation with his strapping son, Antek (Robert Gulaczyk).
Persons: “, Hugh Welchman, Oscar, Loving Vincent, ”, Wladyslaw Reymont’s, strapping, Antek, Robert Gulaczyk Organizations: DK Locations: Poland
☆ ‘Cassandro’ Review: Love and Lucha Libre
  + stars: | 2023-09-21 | by ( Natalia Winkelman | ) www.nytimes.com   time to read: +2 min
In conversations with Sabrina, Saúl toggles between English and Spanish, reserving the latter for colloquialisms or teasing, and the mixture gives their dialogue an organic rhythm. He uses the same blend of languages with his lover, Gerardo (Raúl Castillo), a married luchador with kids whom Saúl sees in secret. and AIDS panic was at its shrillest, and although the real-life Cassandro was sometimes rebuffed by homophobic opponents, the movie never mentions the epidemic. “Don’t you think he’s sexy?” Saúl says, referring to Cassandro as if he were a third person who might join them. The trouble is that lucha libre, built on glitz, is anything but naturalistic.
Persons: Bernal, Sabrina, Saúl, Gerardo, Raúl Castillo, reinvents, Cassandro, Williams, David Teague Organizations: Amazon Prime
☆ ‘Brief Encounters’ and ‘The Long Farewell’ Review: Soulful Soviet Dramas
  + stars: | 2023-08-24 | by ( Natalia Winkelman | ) www.nytimes.com   time to read: +1 min
Through the 1970s and much of the 1980s, Kira Muratova’s stirring films “Brief Encounters” and “The Long Farewell” went unseen, banned by the Soviet Union. “The Long Farewell” provoked such outrage from censors that Muratova, then a new voice in cinema, was stripped of her film degree and prohibited from filmmaking for years. The female characters pine, ache and, amplified by the dramas surrounding them, seem to scream: Life is hard! “Brief Encounters,” from 1967 and my favorite of the pair, is an audacious portrait of two women on the cultural fringes pining after the same man. The film opens on Valentina cast in chiaroscuro, groaning over unfinished work and dirty dishes.
Persons: Kira Muratova’s, ”, “, Muratova, Valentina —, Valentina, Nadia, Nina Ruslanova Locations: Soviet Union, StudioCanal, Moldova, Odesa, Ukraine, who’s
☆ The Tribeca Festival Has a Story to Tell
  + stars: | 2023-06-07 | by ( Natalia Winkelman | ) www.nytimes.com   time to read: +1 min
Every spring, the Tribeca Festival returns to Lower Manhattan with a bulky mixed bag of creative programming. Past attendees of the festival might recall Robert De Niro, one of its founders, rapping, “I’ve got a story to tell,” at the start of a bouncy, AT&T-sponsored Tribeca trailer that preceded screenings for half a dozen years. The industry is in crisis, and as the guilds sound alarm bells, it will be interesting to see how Tribeca amplifies their chime. A top U.S. film festival, Tribeca has long served as a kind of industry nexus, platforming big-studio movies beside indies. The festival has also proven a conduit for filmmakers to go from newcomer to big deal.
Persons: lassos, Robert De Niro, “ I’ve, ”, Mario Van Peebles’s, Mary, Kate, Ashley Olsen, Nia DaCosta, ” She’s Organizations: Tribeca, Writers Guild, New, Disney Locations: Lower Manhattan, Tribeca
☆ ‘Rise’ Review: Step, Repeat, Recover
  + stars: | 2023-06-01 | by ( Natalia Winkelman | ) www.nytimes.com   time to read: +1 min
The remainder of “Rise,” directed by Cédric Klapisch, traces Elise’s lengthy but rather untroubled road to recovery, both of body and of confidence. Much of this coming-of-age work occurs at a picturesque artists’ retreat in a seaside villa where Elise, limping but breezy, accepts a job preparing meals. And what luck that her cooking gig should coincide with the residency of an esteemed contemporary dance troupe — one that includes a break dancing hunk, Mehdi (Mehdi Baki), who Elise had admired back home. This is a sweet, uncomplicated story relayed with enough entrancing dance breaks to fill an American halftime show. It drives home a point we already intuit: the dialogue is incidental when the dancing is this expressive.
Persons: ”, Cédric Klapisch, Elise, Mehdi, Mehdi Baki, Barbeau Organizations: Paris Opera Ballet, intuit Locations: American
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