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FNC 2010: Submarino

———– Submarino Directed by Thomas Vinterberg Proving that there’s a very fine line between genuine probing into human failings and all-out misery porn, Thomas Vinterberg’s (Dear Wendy, The Celebration) latest balances itself precariously between the two throughout its runtime, oscillating between plot elements that seem grounded in its characters’ emotional realities and those that are …

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FNC 2010: Cell 211

——— Cell 211 Directed by Daniel Monzón Call it reverse Hollywood-itis. Earlier this year, Fatih Akin’s Soul Kitchen exhibited the comic sensibility of any number of widely-lambasted American studio comedies and gave it a mild injection of regional (in its case, Turkish and German) flavor, to puzzlingly glowing notices. This time around, Spaniard Daniel Monzón’s …

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FNC 2010: La Belle Endormie

La Belle Endormie Directed by Catherine Breillat Written by Catherine Breillat France – 2010 Defying all expectations and conventions, Catherine Breillat creates a fairy tale that can only be attributed to her sensibilities with her newest film, La Belle Endormie. A loose adaptation of Sleeping Beauty, the film is about a young princess’ journey in …

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FNC 2010: Rambock

“Rambock still delivers some brutally effective shocks” Rambock Directed by Marvin Kren Written by Benjamin Hessler Germany, 2010 Our unfortunate protagonist Michael travels across the country to Berlin to visit his ex-girlfriend in hopes to rekindle their relationship. He arrives at her apartment only to be greeted by hordes of zombies and a young maintenance …

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FNC 2010: “Preludio’s” bright dialogue and refreshingly restrained use of the single take

Editor’s note: Eduardo Lucatero is a friend and collaborator at Sound On Sight. While my film review can seem biased, Sound On Sight has always taken pride in their honest views. Preludio Directed by Eduardo Lucatero Ever since Hitchcock’s Rope, real-time cinema has often been utilized by directors and editors unafraid of long static shots …

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FNC 2010: Nénette

Nénette Directed by Nicolas Philibert Nénette begins by confronting the audience with a familiar gaze: it’s not human, but we are still almost immediately drawn in, struck by pathos for something like but unlike ourselves. The camera never leaves the orangutan cage located at the Paris Menagerie. Voice-overs from various authorities and backgrounds, offering multiple …

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