In Review: Bergman Island

After the misfire of Maya, a downbeat drama of cultural tourism still awaiting US distribution, Mia Hansen-Løve returns victorious with a film that matches her observational and emotionally intelligent approach with her most ambitious narrative threading yet. Miraculous in mysterious ways, Bergman Island is a return to peak form for the auteur, one that begins with deceptive modesty before steadily exhaling its ideas. Heady but without the emotional remove that such descriptors would imply, Hansen-Løve manages to make a deep and tender film about romance, art, and the subjectivity inherent to experiencing them. It’s simply a wonder to behold.

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In Review: Old

Cresting onto the summer season like the sun on our face and waves at our feet, M. Night Shyamalan brings us the kind of high concept schlock that has been missing since the post-pandemic return to theatres has offered little big scale entertainments outside of franchises. This oasis of scary silliness is Old, a beach-set ensemble piece where nothing is at first what it seems—even the telltale warning signs of some of the director’s worst habits. Adapted from Pierre Oscar Levy and Frederick Peeters’ graphic novel Sandcastle, the film first appears like another Shyamalan bomb on the level of The Happening’s groaningly stilted dialogue and lack of trust in the audience’s intelligence to surmise what’s going on as we watch it. However, Shyamalan quickly finds a stride that results in an all-together fun and touching dose of genre storytelling. 

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