Mark Asch

The Laundromat (Steven Soderbergh, US) — Special Presentations

By Mark Asch / September 13, 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 / September 11, 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 / September 10, 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 / September 9, 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…

Read More