In the process, Nayman achieves one of a critic’s loftiest goals: grappling with a body of work while honoring its mystery. In a dream near the end of Madre, Elena finally “sees” the tree trunk Ivan hid under 10 years before and hears a snarling animal devouring the child, prompting her upon waking to rescue Jean, or abduct him from his family, depending on how you view it. The opening shot, set to Claudio Gizzi’s tragic score, holds on Dracula in close-up as he delicately applies make-up. The filmmaker also invests his narrative with references to classic horror films, most notably Psycho, though his own direction lacks Alfred Hitchcock’s polish, which in this case is a blessing. This meditative and handsomely-shot essay on the ineffectiveness of America’s punitive system subtly transfixes and absorbs the viewer. However flagrantly artificial and constructed, the whole film feels uniquely alive. "The Prison in Twelve Landscapes" will be screened in this As Dracula vomits up non-virgin blood like water from a fire hydrant, Morrissey films Kier’s convulsing body not for campy laughs, but to highlight its anguish and deterioration. The book opens with 2007’s There Will Be Blood (the director’s fifth film) and penultimately concludes with 2002’s contemporary-set Punch-Drunk Love, Anderson’s final (to date) curdled valentine to San Fernando Valley, as well as his first psychodrama with a loner at its center. 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Abhimanyu Das. Also, Zemeckis fortunately didn’t feel a need to repeat the previous film’s coda, which tried in slapdash fashion to cast some light on a chilling Grimmsian fairy tale about murdered children. Such moments hammer home the unnerving simplicity of the premise, likening drug addiction to volunteer parasitism, rendering self-violation relatable via its inherently paradoxical alien-ness. Variety and the Flying V logos are trademarks of Variety Media, LLC. The rippling of the witches’ bodies as they transform is rendered almost seamlessly. It’s a fable of modernity darkened with war, obsession, and madness. Dir. It’s not unusual for him and his partner, Dennis (Jamie Dornan), to respond to drug calls, and the film opens with heroin overdoses at a flop house, shot in a long take as the camera drifts from one room or character to another, building up a sense of dizzying dread. Anderson’s films toggle between valorizing and criticizing men of industry who’ve, with a few exceptions, made America in their own neurotic image. Much like the other tone poem of the Universal horror series, Karl Freund’s gorgeously mannered The Mummy, Ulmer’s deeply elegiac film is a grief-stricken work, a spiraling ode to overwhelming loss, both personal and universal. Kargl’s camera prowls around Leder’s madman like an ever-present ghost—a haunting, torturous presence that captures every bead of cold sweat, each anxiety-ridden movement, and the agony of all his facial expressions as he tracks his prey. Have notification of new issues and content delivered to your inbox. These disparate approaches collide in a moving scene where Bol, after being confronted by spirits dwelling in his house, yet still in denial about their presence, burns his and Rial’s old belongings. That’s akin to saying that all an apple ever really symbolizes is an apple, and that symbols and subtexts essentially don’t exist. Rodrigo Sorogoyen’s feature-length Madre contemplates how memories of loss linger and distort the present. That may be a noble goal in itself, but it’s not always the stuff of sharp satire. Nayman only deviates from this concept once, as 2017’s Phantom Thread, Anderson’s eighth and most recent film, is saved for last and presented as a culmination of a blossoming sensibility. By brazenly conflating religious and sexual hysteria, and depicting both with his characteristic lack of restraint, Russell pushes his already edgy material into places that are so intense and discomforting that the film was subsequently banned in several countries and is to this day still unavailable on home video in a complete and uncut version. You can reach him at @cinemablogrpher. Dracula has “crossed oceans of time” to find Mina, and Coppola shows how the cinematically preternatural similarly finds and seduces audiences—how movies offer their own sparkle of immortality. In Ferguson, a woman outlines in detail how a ticket for an open trashcan led to three days in a jail cell covered in vomit and feces, since she wouldn’t pay the ticket because the officer who issued it couldn’t be bothered to confirm that she had actually received it. Chase introduces two new wrinkles to this formula: The first is that the monster’s home dimension is the electronic realm of smartphones, tablets, and the electrical system, and the second is that the child, Oliver (Azhy Robertson), has autism and is nonverbal. Annie’s (Jane Lowry) near murder, when she’s stabbed on the stairway, is framed in a prismatic image, with a mirror reflecting the assault back on itself and suggesting, once again, the intense insularity of this world. Throughout Raw, director Julia Ducournau exhibits a clinical pitilessness that’s reminiscent of the body-horror films of David Cronenberg, often framing scenes in symmetrical tableaus that inform the various cruelties and couplings with an impersonality that’s ironically relieved by the grotesque intimacy of the violence. It’s an unusual combination, but one that’s rendered even more forceful and emotionally resonant by the director’s ability to tie the film’s terror so precisely to the inner turmoil of his characters and the myriad psychological and social challenges they face. The film is at its strongest when Reed’s vignette extends the tale of the futility of the prisons to an analysis of the larger systemic problems of racism that make the slammer so lucrative for Uncle Sam.

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