Mark Asch
The Laundromat (Steven Soderbergh, US) — Special Presentations
By Mark Asch | 09/13/2019 | Cinema Scope Online, TIFF 2019
By Mark Asch “Follow the money” is the imperative of every Steven Soderbergh movie: since Traffic helped inaugurate the “everything is connected” genre, he’s tracked the flow of circulating commodities from viruses to athletes, and his heist films invert the find-the-lady deceptiveness of global finance to redistributive ends. The Laudromat, his Panama Papers movie, aims…
Read More → Proxima ( Alice Winocour, Germany/France) — Platform
By Mark Asch | 09/11/2019 | Cinema Scope Online, TIFF 2019
By Mark Asch A feature-length version of the scene in Robert Zemeckis’ Contact (1997) in which an astronaut’s teary-eyed daughter begs her daddy not to go into space, Alice Winocour’s Proxima follows Eva Green as she juggles parenting an eight-year-old and preparations for a year aboard the International Space Station. Sarah (Green) shares custody of…
Read More → The County (Grímur Hákonarson, Iceland/Denmark/Germany/France) — Contemporary World Cinema
By Mark Asch | 09/10/2019 | Cinema Scope Online, TIFF 2019
By Mark Asch At Cannes 2015, an Un Certain Regard jury headed by Isabella Rossellini awarded its top prize to Grímur Hákonarson’s Rams, a film about the congenital stubbornness of Iceland’s aging rural population which, with its agricultural wit and final shot of feuding twin brothers in a symbolic return to the womb, reached for…
Read More → 1982 (Oualid Mouaness, US/Lebanon/Norway/Qatar) — Discovery
By Mark Asch | 09/09/2019 | Cinema Scope Online, TIFF 2019
By Mark Asch Surely autobiographical, fortysomething Lebanese writer-director Oualid Mouaness’ debut fiction feature 1982 views the Israeli invasion into the then civil-warring nation from the unlikely, ultimately unpropitious vantage of an English-language private school in East Beirut at the end of the school year. Fifth-grader Wassim (Mohamad Dalli) scrambles to finish his exams and muster…
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