Diego Semerene Movie Reviews & Previews - Rotten Tomatoes

Diego Semerene

Diego Semerene
Diego Semerene's reviews only count toward the Tomatometer when published at the following Tomatometer-approved publication(s): Slant Magazine

Movie Reviews Only

Rating T-Meter Title | Year Review
3/4 No Score Yet Around the World When You Were My Age (A volta ao mundo quando tinhas 30 anos) (2018) Across the film, the most idiosyncratic reactions of an ordinary human become real documents of human history.‐ Slant Magazine
Read More | Posted May 26, 2020
3/4 100% Crystal Swan (2018) Throughout the film, it's as if mundane objects hold the remedies for the wretchedness of everyday life.‐ Slant Magazine
Read More | Posted May 20, 2020
3.5/4 71% Dear Diary (Caro diario) (1994) In the film, the matter of cinema is the process of creativity, arduous and unrealized, as it ebbs and flows. ‐ Slant Magazine
Read More | Posted May 12, 2020
2/4 64% On a Magical Night (Chambre 212) (2020) Christophe Honoré deposits all his chips on the comedic premise at the expense of character study and gravitas.‐ Slant Magazine
Read More | Posted May 5, 2020
86% State Funeral (2019) Through an inconspicuous editing strategy that makes irony emerge little by little, State Funeral exposes the pathetic absurdity of collective adoration.‐ Slant Magazine
Read More | Posted Apr 25, 2020
No Score Yet Babenco: Tell Me When I Die (Babenco - Alguém tem que ouvrir o coraçã e dizer parou) (2019) Though there's unquestionable dissonance between the dying veteran filmmaker and his much younger pupil, their roles aren't so fixed. ‐ Slant Magazine
Read More | Posted Apr 25, 2020
3/4 100% Welcome to Chechnya (2020) David France's most remarkable accomplishment emerges from an aesthetic commitment of a very particular kind. ‐ Slant Magazine
Read More | Posted Mar 6, 2020
3.5/4 100% There Is No Evil (Sheytan vojud nadarad) (2020) The film grapples with the various shapes that guilt and honor (or lack thereof) might take in a context of state-sanctioned death.‐ Slant Magazine
Read More | Posted Mar 4, 2020
No Score Yet Drag Kids (2019) Megan Wennberg's documentary refreshingly denies us a lot of the kiddy voyeurism one might expect.‐ Slant Magazine
Read More | Posted Mar 4, 2020
3.5/4 100% Days (Rizi) (2020) Tsai Ming-liang seems to say that, even in a world rigged against queerness, certain things can't still be shared. ‐ Slant Magazine
Read More | Posted Mar 1, 2020
0/4 39% The Roads Not Taken (2020) The film is an unending source for the worst possible clichés and most overdone series of graphic matches in the history of film editing.‐ Slant Magazine
Read More | Posted Feb 29, 2020
3.5/4 No Score Yet Saudi Runaway (2020) Camera, character, and cameraperson are one throughout, and the effect is exquisitely suffocating. ‐ Slant Magazine
Read More | Posted Feb 26, 2020
1.5/4 64% The Salt of Tears (Le sel des larmes) (2020) Philippe Garrel illustrates the absurdity behind the myth of the complementary couple without humor or wit. ‐ Slant Magazine
Read More | Posted Feb 23, 2020
100% Young Hunter (El cazador) (2020) Director Marco Berger offers us a gripping look at the tragedies that surface precisely when desire isn't allowed to express itself freely and publicly.‐ Slant Magazine
Read More | Posted Jan 29, 2020
75% Mother (2019) It's difficult to engage meaningfully with some of the subjects when the filmmaker is content to accept the fact that they only have their façades to offer.‐ Slant Magazine
Read More | Posted Jan 29, 2020
100% This Is Not a Burial, It's a Resurrection (2020) Lemohang Jeremiah Mosese's mise-en-scène and camerawork are breathtaking.‐ Slant Magazine
Read More | Posted Jan 29, 2020
2.5/4 86% José (2020) Li Cheng gets much closer to capturing his characters' predicaments when he trusts the images alone.‐ Slant Magazine
Read More | Posted Jan 27, 2020
2/4 88% Earth (Erde) (2019) With Earth, Nikolaus Geyrhalter's visual strategy is to wow us with tangibility and data, though he doesn't give up aesthetic experimentation altogether in this survey of Anthropocene calamities.‐ Slant Magazine
Read More | Posted Jan 8, 2020
2/4 93% Invisible Life (A vida invisível de Eurídice Gusmão) (2019) Only rarely does Karim Aïnouz allow for loopholes to refreshingly emerge from the film's stylistic deadlock.‐ Slant Magazine
Read More | Posted Dec 17, 2019
3.5/4 90% Chinese Portrait (2019) The simplicity of bodies barely moving before a camera that brings their quotidian temporality into a halt is nothing short of a radical proposition in our digital era.‐ Slant Magazine
Read More | Posted Dec 10, 2019
3/4 96% The Disappearance of My Mother (2019) It's fascinating to see Benedetta Barzini in academic action, like an ethnographer of the patriarchy herself, bringing back news from its most glamourous yet rotten core.‐ Slant Magazine
Read More | Posted Dec 3, 2019
2.5/4 59% Frankie (2019) ability to turn even the sappiest of scenarios into a nuanced tour de force.‐ Slant Magazine
Read More | Posted Oct 23, 2019
2.5/4 71% Wrinkles the Clown (2019) The film's mid-act about-face lends a refreshing sense of complexity to an otherwise superficial depiction of Wrinkles. ‐ Slant Magazine
Read More | Posted Oct 2, 2019
3/4 92% Fire Will Come (A Sun That Never Sets) (O Que Arde) (2019) Olivier Laxe's film refreshingly occupies an almost uncategorizable cinematic realm.‐ Slant Magazine
Read More | Posted Sep 11, 2019
3/4 59% Sibyl (2019) Throughout, Justine Triet is committed above all else to the tricks that memory and language can play on us.‐ Slant Magazine
Read More | Posted Sep 10, 2019
2/4 82% This is not Berlin (2019) Hari Sama never quite manages to seamlessly sync the film's anti-bourgeois political commitments to its soap-operatic register. ‐ Slant Magazine
Read More | Posted Jul 30, 2019
2.5/4 90% Cassandro the Exotico! (2019) Marie Losier's empathy, if not love, for Cassandro hinders her from examining his wounds with much depth.‐ Slant Magazine
Read More | Posted Jul 18, 2019
1.5/4 97% The Reports on Sarah and Saleem (2019) We never spend enough time with the characters to believe the urgency, and lushness, of their cravings.‐ Slant Magazine
Read More | Posted Jun 11, 2019
3/4 100% The Silence of Others (2019) Almudena Carracedo and Robert Bahar's documentary is monumental for its clamorous sounding of an alarm.‐ Slant Magazine
Read More | Posted May 8, 2019
3/4 93% Sauvage / Wild (2019) The film is a tale about how those who spiral so far out of control become blind, if not immune, to the severity of their symptoms.‐ Slant Magazine
Read More | Posted Apr 6, 2019
3/4 99% The Chambermaid (La camarista) (2019) Lila Avilés's film reserves the possibility of flirtations with disaster to turn into acts of emancipation.‐ Slant Magazine
Read More | Posted Mar 28, 2019
3/4 86% The Graduation (Le concours) (2016) Claire Simon knows that the best way to capture the anxiousness of a moment is to leave it unembellished.‐ Slant Magazine
Read More | Posted Feb 21, 2019
1.5/4 84% Daughter of Mine (Figlia mia) (2019) Unlike My Life in Pink, Daughter of Mine sidesteps all ambiguity, as the film reveals everything about its characters straight away, leaving little room for unexpected complexities about their predicaments to develop.‐ Slant Magazine
Read More | Posted Jan 30, 2019
1.5/4 90% Capernaum (Capharnaüm) (2018) Zain Al Rafeea's naturalness, however uncanny, only makes the film's maneuverings seem all the more obvious.‐ Slant Magazine
Read More | Posted Dec 4, 2018
2/4 92% The Charmer (Charmoren) (2018) Director and co-writer Milad Alami's film feels like several fused-together trial drafts of the same narrative.‐ Slant Magazine
Read More | Posted Nov 29, 2018
3.5/4 84% Distant Constellation (2018) Director Shevaun Mizrahi's documentary Distant Constellation is a master class in the art of the portrait. ‐ Slant Magazine
Read More | Posted Oct 31, 2018
1/4 96% 1985 (2018) The black and white of this film feels like an easy filter draped around the elements in the frame, hoping to grant them the gravitas that the elements themselves can't radiate.‐ Slant Magazine
Read More | Posted Oct 21, 2018
1.5/4 74% The Children Act (2018) The Children Act stages the clumsiness of belated domestic confrontations with the very coldness that's kept its characters from having discussed their emotions for decades and from having had sex for almost a year.‐ Slant Magazine
Read More | Posted Sep 13, 2018
2/4 93% Kusama: Infinity (2018) Despite the exuberance of the works featured, which are promptly flattened by the film's commitment to a traditional documentary blueprint, Yayoi Kusama's resilience still commands our attention. ‐ Slant Magazine
Read More | Posted Sep 4, 2018
3/4 82% Sorry Angel (Plaire, aimer et courir vite) (2019) Much more interesting than Jacques and Arthur's relationship is Christophe Honoré's subtle portrait of the early '90s as a time of accelerated mortality and mourning, but also of material encounters of all kinds.‐ Slant Magazine
Read More | Posted Sep 3, 2018
1.5/4 86% The Wife (2018) Glenn Close's perennial look of astonishment and resilience commands the action to the point of turning every other screen element into a gratuitous prop.‐ Slant Magazine
Read More | Posted Aug 13, 2018
1/4 86% The Miseducation of Cameron Post (2018) The film's refusal to produce a campy critique feels more like the product of lack of imagination than a purposeful repudiation.‐ Slant Magazine
Read More | Posted Aug 3, 2018
1.5/4 95% Good Manners (As Boas Maneiras) (2018) The film is a rebellion of surfaces that never quite reaches, or emanates from, the underpinning roots of its fable.‐ Slant Magazine
Read More | Posted Jul 27, 2018
3/4 99% McQueen (2018) As Ian Bonhôte's documentary reveals, Alexander McQueen's suicide was perhaps the all-too-predictable ending to a history of violence. ‐ Slant Magazine
Read More | Posted Jul 11, 2018
1/4 71% The Misandrists (2018) The sexual outbursts in the film are tempered with a tenderness that one hardly associates with Bruce LaBruce's career.‐ Slant Magazine
Read More | Posted May 20, 2018
3/4 90% Hitler's Hollywood (2018) Rüdiger Suchsland's film is a master class in the relationship between image production and ideology writ large.‐ Slant Magazine
Read More | Posted Apr 10, 2018
2/4 83% The Nothing Factory (A Fábrica de Nada) (2017) Its cerebral approach works better during sequences that are less dependent on narrative and more essayistic in nature.‐ Slant Magazine
Read More | Posted Mar 28, 2018
3/4 88% Scary Mother (2017) Virginia Woolf's iconic aphorism that "a woman must have money and a room of her own if she is to write fiction" comes to life in the most allegorical of ways in Scary Mother.‐ Slant Magazine
Read More | Posted Mar 26, 2018
3/4 95% 12 Days (12 Jours) (2018) With a tender and respectful gaze, the documentary sheds light on the relationship between the French state and the mentally ill. ‐ Slant Magazine
Read More | Posted Mar 14, 2018
3/4 96% November (2018) Rainer Sarnet is as invested in telling a convoluted story that feels rooted in millennia-old folklore as he is in unabashedly experimenting with form and style for the sake of visual pleasure alone.‐ Slant Magazine
Read More | Posted Feb 21, 2018