Can we permanently delete the term “home stretch” in a festival context? All right then. In the NYFF’s final week, the best fiction in the Main Slate is stronger (arguably) and more obscure (undoubtedly) than just about everything that has come before. Products of exceptional minds creating in different keys, these three gems (Horse Money, Jauja, Life of Riley) do share some elements that could make them off-putting for the passive viewer. All bets are off for anyone looking for the expected visual and aural cues. Each of these directors builds a self-contained universe with its own rules of engagement. […]
from Filmmaker Magazine http://ift.tt/1s9e2P7
from Filmmaker Magazine http://ift.tt/1s9e2P7
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