Ariel Kling

Zoé Wittock makes her feature directorial debut with Jumbo, sporting an equal disregard for the conservative, in both a fantasmic and ambitious fashion.

Shannon Murphy, articulate, clever, and one of the recent directors of Killing Eve, makes her feature film debut with one of the smartest films of the year, and establishes herself in record time as one of the prime directors to look out for.

Blood Quantum, due to its unique take on the zombie horror genre that has sent so many films of its kind into the backdrop for their sheer lack of new ideas.

Eliza Hittman is dauntless as she saunters into these nebulous shadows to tell what is one of the rawest and most poignant coming-of-age stories of modern cinema.

The evening was one of thick, palpable tension, propagated by tone-deaf jokes, unresponsive calling-out, and a lack of solidarity with those who were affected the most by nominations.

In 1964, Henri-Georges Clouzot set out to change cinema with his film L’Enfer. He attempted to create images so striking, and implicate a story so defined by heartbreak and the human condition, that it proved too difficult a task to finish due to problems of funding, sickness, and management.

All articles filed in Ariel Kling

REVIEW: ‘Jumbo’ Is An Inventive Hybrid of a Modern Love Story and a Full-Body Sensory Experience

REVIEW: ‘Babyteeth’ (2019) is a Daring Tale of Young Love that May Literally Send Shivers Down Your Spine

REVIEW: ‘Blood Quantum’ (2020) is a Fascinating Native Reinvention of the Age-Old Zombie Genre

REVIEW: ‘Never, Rarely, Sometimes, Always’ is a Striking Feminist Manifesto on Unwanted Teenage Pregnancy

The Césars 2020: A Shameful Evening for French Cinema

Resurrecting Cluzot’s ‘L’Enfer’ (1964) in 2020