Tim Basaraba – Critical Zone is interesting in that it straddles two types of cinematic languages. One in the tradition of Italian neorealism, being set amongst the poor and the working class, filmed on location, with non-professional actors.
Peter Cameron – The one thing that sucks about SIFF is parking. It’s expensive and nearly impossible to find, which can break your spirit. But as my friend and fellow NadaMucho.com critic, Tim Basaraba, likes to say, “Not today!”
Peter Cameron – Sometimes a title says it all. Wedding Crashers, A Bridge Over the River Kwai, The Godfather, you get the drift. Then there are titles that bury the lead: Chinatown, The Third Man. Thomas Arslan’s Scorched Earth, on the other hand, is like the film: subtle.
We Have Never Been Modern (2024) Directed by Matěj ChlupáčekStarring Eliska Krenková, Miloslav König, Richard Langdon, Martha Issová and Milan Ondrik As viewed at the 50th Annual Seattle International Film Festival…
Tim Basaraba – The ambitious goal for my fifth day at the Seattle International Film Festival was to catch four films. Spoiler alert: I failed.
Tim Basaraba – On Sunday, May 12, the fourth day of the 2024 Seattle International Film Festival, I found my stride and adhered to my carefully planned schedule. I aimed to watch three narrative feature films at three different locations—and I was determined not to let anything derail me. (Spoiler Alert: Something did.)
Peter Cameron – Saturday was hot. Folks from Nevada would laugh, but 73 in Seattle, for us locals, is verging on uncomfortable. What better way to escape this discomfort than to slip inside a shady cinema and watch a film?
Seattle International Film Festival May 9-19, 2024 in Seattle Day 2 Recap (Friday, May 10) The best-laid plans of mice and men often go awry—especially when the POTUS lands in…
Tim Basaraba’s capsule review of Thelma, the film shown at the Seattle International Film Festival’s 2024 opening night gala.
Peter Cameron – Can a bridge be built across the chasm between a criminal and their victim? Does justice restore the wreckage a crime creates? These and other questions permeate Jeanne Herry’s stirring chamber piece, All Your Faces.