The wistful longing of discontented Japanese salarymen in Shall We Dance? is absent from the bracingly funny Oh Lucy! Setsuko (Shinobu Terajima), an office lady tugging at her restrictive white collar, bubbles with anger and resentment.
The petite Holly Hunter has an oversized onscreen presence, a vibrant intensity that can make her co-stars appear subservient. One of the best aspects of Katherine Dieckmann’s exquisite Strange Weather is its character parity.
Fiona Gordon and Dominique Abel’s signature style blends screwball and romantic comedy with playful fantasy, but Lost in Paris lacks the magical elements of their previous features (Iceberg, Rumba, and The Fairy, co-directed with Bruno Romy).
If prolific reader Carrie Pilby (Bel Powley) watched romantic comedies the way she consumes books, she might see that her dispiriting year as a recluse was ending and that she’d wandered into a merry and bright fairy tale of New York.
The Watermelon Woman is a vital example of New Queer Cinema, but it’s more than a time capsule. Funny and smart, full of biting humor and astute observations about identity and history, Cheryl Dunye’s audacious, joyous debut feature captures the process of falling hopelessly in love with the movies.