Ela Bittencourt Movie Reviews & Previews - Rotten Tomatoes

Movie Reviews Only

Rating T-Meter Title | Year Review
No Score Yet Extreme Private Eros: Love Song 1974 (Gokushiteki erosu: Renka 1974) (1974) While navigating the relatively new terrain of their breakup, Miyuki is also politically invested in challenging traditional conceptions of women's roles at home and in Japanese society.‐ cléo
Read More | Posted May 18, 2020
91% Bacurau (Nighthawk) (2020) Mendonça and Dornelles's film is... an attempt to grapple with unspeakable, horrifying evil -- but an evil that must be understood in social and historical rather than biblical terms.‐ Harper's Magazine
Read More | Posted May 1, 2020
94% Women Make Film: A New Road Movie Through Cinema (2018) Extensively researched and passionately told, at its best, Women Make Film: A New Road Movie Through Cinema is a jazzy, Whitmanian hymn in praise of collective female genius.‐ Hyperallergic
Read More | Posted Feb 27, 2020
98% In a Lonely Place (1950) In a Lonely Place isn't so much a straightforward thriller as it is a poignant psychological study of a person and a milieu, veiled as an atmospheric noir. ‐ Hyperallergic
Read More | Posted Feb 25, 2020
97% Gun Crazy (Deadly Is the Female) (1950) The film may have been a quaint display of American decency and small-town folksiness were it not for the electrifying and darker, more complex presence of Cummins.‐ Hyperallergic
Read More | Posted Feb 25, 2020
100% Shirkers (2018) An irresistible mix of insouciance and precocious maturity. Much of its charm lies in Tan's ironic irreverence as the film's narrator.‐ Hyperallergic
Read More | Posted Feb 21, 2020
100% Shakedown (2018) A thrilling and also valuable film. The audience must take the imaginative leap and accept the contradicting identities that Weinraub presents, without insisting that they must cancel out.‐ Hyperallergic
Read More | Posted Feb 18, 2020
No Score Yet Spell Reel (2017) César poignantly captures the desire to free the image, or rather, to reactivate it by incorporating it into a broad historical narrative. ‐ Hyperallergic
Read More | Posted Feb 6, 2020
97% The Cave (2019) Acute sociological tension mingles with the physical and psychological terror of bombings and of the chemical attack.‐ Sight and Sound
Read More | Posted Dec 3, 2019
99% Parasite (Gisaengchung) (2019) Bong harnesses the torment that capitalist greed, deregulation, and gaping inequality have unleashed across the world, making Parasite's dystopian vision ring universally true.‐ Nylon
Read More | Posted Oct 15, 2019
93% Saint Maud (2020) Saint Maud's conjuration of wild daylight visions and spiritual torments skilfully blurs the line between a possible medical condition and outright madness, while also slyly suggesting that the film's heroine may in fact be possessed.‐ Sight and Sound
Read More | Posted Oct 2, 2019
98% Rojo (2019) Dario Grandinetti's riveting performance as the vaguely menacing yet bureaucratic Claudio is a reminder that repulsive or unfathomable characters can be as fascinating as likable ones.‐ Hyperallergic
Read More | Posted Sep 26, 2019
97% The Edge of Democracy (2019) Engrossing...‐ NPR
Read More | Posted Jun 20, 2019
88% Scary Mother (2017) Scary Mother proves delightfully off-kilter, the dead seriousness of the social setting and the family conflict pierced by humorous or absurdist moments.‐ Cinema Scope
Read More | Posted Feb 14, 2019
92% Cold War (Zimna wojna) (2018) Poland has seen more than its share of war, and of the art and cinema of exile. Pawel Pawlikowski's latest feature, Cold War, is a spirited albeit flawed entry in this category.‐ Film Comment Magazine
Read More | Posted Jan 18, 2019
100% The Chronicle of Anna Magdalena Bach (1968) While the film is mostly focused on the music and the settings in which it was originally played, Anna Magdalena's voice guides us, providing the film's peculiar, illusive texture.‐ Hyperallergic
Read More | Posted Nov 6, 2018
92% Life and Nothing More (La Vida y Nada Más) (2018) Esparza's vision of motherhood, as a fortress whose foundations must hold even on the shakiest of grounds, pulls us into a soaring emotional tide, and keeps us entranced, marveling at Williams's talent and charm as a non-professional actor.‐ Hyperallergic
Read More | Posted Nov 6, 2018
90% On Body and Soul (A Teströl és Lélekröl) (2018) There is a real tinge of sadness to On Body and Soul, which serves as a quaint allegory on dating in the age of Tinder: a hint that visiting mysterious strangers in our dreams is at times as close we get to intimacy.‐ Hyperallergic
Read More | Posted Nov 6, 2018
83% A Woman's Life (Une vie) (2017) The narrative is suffused with subtle yet piquant moral commentary.‐ Brooklyn Magazine
Posted Aug 7, 2018
69% All These Sleepless Nights (2017) Throughout, what makes All These Sleepless Nights distinct, beyond the three protagonists philosophical, artistic musings and their charisma, is the camera's ability to convey the state of intoxication and the dreaminess of the nocturnal juvenilia.‐ Brooklyn Magazine
Posted Aug 7, 2018
88% The Death of Louis XIV (La mort de Louis XIV) (2017) In the final scenes,... the painterly mise-en-scene and cinematography - golden and ochre hews, Venetian reds, soft camera focus and the glowing whiteness of doctors' caftans, illumined by multiple light sources a la Vermeer - turn death into a feast.‐ Frieze
Read More | Posted Aug 7, 2018
97% The B-Side: Elsa Dorfman's Portrait Photography (2017) Elsa Dorfman's work is ephemeral yet grand: using a giant 20" x 24" camera, that is now discontinued, Dorfman has produced some of the world's largest Polaroid images, showing that unwieldy technology does not need to be limiting when used imaginatively.‐ Frieze
Read More | Posted Aug 7, 2018
55% The Human Surge (El auge del humano) (2017) Williams sympathizes with his protagonists, though his film is too fluid and keen on catching the quirkiness of everyday speech and capturing languid moods to act as agitprop.‐ Frieze
Read More | Posted Aug 7, 2018
100% La Camioneta: The Journey of One American School Bus (2013) Kendall makes his documentary memorable by resisting the urge to give crime center stage. Instead he focuses on the lives being quietly and doggedly built, even if at a great risk.‐ Guernica
Read More | Posted Aug 7, 2018
100% The End of Fear (2018) What of art then? Is its thrill ever about aesthetics alone? This question is just one of many raised by Barbara Visser's smart, approachable, and entertaining documentary The End of Fear.‐ Reverse Shot
Read More | Posted Aug 7, 2018
No Score Yet Ghost Hunting (Istiyad Ashbah) (2017) [It's] ultimate point [is] in the nuances -- the surplus of contradictory feelings, the dark humor, the contextualizing, the bodily language, and finally the words. All these make the film's final impact far more complex than one would assume. ‐ Reverse Shot
Read More | Posted Aug 7, 2018
No Score Yet Railway Sleepers (Mon Rot Fai) (2017) The result is beguiling: a lullaby of sorts, it seduces with its rhythm, while every once in a while, a sudden, odd flash stirs us to alertness.‐ Reverse Shot
Read More | Posted Aug 7, 2018
71% Uncertain Terms (2015) His latest film and fourth feature, Uncertain Terms, is perhaps Silver's most mature depiction of imperfect love to date. ‐ Reverse Shot
Read More | Posted Aug 7, 2018
No Score Yet Org (1979) A kaleidoscopic behemoth of a film.‐ Village Voice
Read More | Posted Jul 23, 2018
65% Faust (2013) Sokurov's [Faust] has a distinctly human scale, yet he flattens the tale's meaning.‐ Reverse Shot
Read More | Posted Apr 11, 2018
88% Post Mortem (2012) Post Mortem is only Larraín's second feature, but he has already proven a distinct style-an unmistakable deadpan-and an interest in political and personal utopias.‐ Reverse Shot
Read More | Posted Apr 11, 2018
No Score Yet Bitter Seeds (2012) Bitter Seeds is one of those rare films whose storytelling economy is matched by visual eloquence.‐ Guernica
Read More | Posted Apr 11, 2018
20% Northeast (2012) Northeast never finds enough direction, or gathers enough oomph, to leave a lasting impression.‐ The L Magazine
Read More | Posted Apr 11, 2018
94% Ouwehoeren (Meet the Fokkens) (2012) A prostitute's sexual freedom is a fiction; though this isn't news, the film confronts the issue with rawness and panache.‐ The L Magazine
Read More | Posted Apr 11, 2018
No Score Yet Ricky on Leacock (2012) Weiner seems star-struck, and treats viewers to too many chats over home-cooked dinners and film-award ceremonies. ‐ The L Magazine
Read More | Posted Apr 11, 2018
93% Farewell, My Queen (2012) It might be that Marie still waits for a true incarnation, but Jacquot's pushing her beyond likeability is refreshing.‐ The L Magazine
Read More | Posted Apr 11, 2018
59% The Woman in the Fifth (2012) It is a pity that Pawlikowski abandons his quietly haunting impressionism in the film's more literal second half.‐ The L Magazine
Read More | Posted Apr 11, 2018
89% Gerhard Richter Painting (2012) Shows the process behind Richter's fancy free abstract paintings, but leaves the greater forces and themes that make him not only a famous or a rich painter but an important one unexamined.‐ The L Magazine
Read More | Posted Apr 11, 2018
81% Putin's Kiss (2012) It does deliver a forceful message: the fight for the young Russians' hearts and minds is far from over.‐ The L Magazine
Read More | Posted Apr 11, 2018
85% Vazante (2018) Thomas implausibly upholds the romantic trope of a doomed heroine.‐ Film Comment Magazine
Read More | Posted Jan 3, 2018
92% That Most Important Thing: Love (L'important c'est d'aimer) (1975) Zulawski's fluid, roving camera, favoring medium shots and close-ups, and accompanied by Georges Delerue's full-throated score, is so attentive to every pang, twinge, or slightest hint of agony that it seems to expose the characters' every nerve.‐ Film Comment Magazine
Read More | Posted Jul 11, 2017
80% The Woman Who Left (Ang babaeng humayo) (2017) The film is a story of solidarity and redemption, and its main strength is a panoramic vision of the Philippines' socioeconomic woes.‐ Village Voice
Read More | Posted May 16, 2017
74% We Are the Flesh (Tenemos la carne) (2017) Emiliano Rocha Minter evokes human desire, unfettered by social mores, as the supreme expression of all the world's evil. ‐ Slant Magazine
Read More | Posted Dec 12, 2016
85% Antiporno (Anchiporuno) (2017) Cruelty, masochism, parental abuse (in the painter's flashbacks) and schadenfreude of all kinds fuel this feverish op-art dream that turns on us at every corner.‐ Slant Magazine
Read More | Posted Dec 12, 2016
91% Demon (2016) For a tale of repressed guilt, Demon sparkles with humor, reveling in the macabre.‐ Film Comment Magazine
Read More | Posted Sep 26, 2016
3/4 92% Neither Heaven nor Earth (Ni le ciel ni la terre) (2016) Shot on digital video and emblazoned with such impressionistic effects as the visions captured by a night-vision camera, Neither Heaven Nor Earth is a contemporary ghost story that's both unabashedly mystical and thrillingly pulpy.‐ Slant Magazine
Read More | Posted Jun 29, 2016
84% Mia Madre (2016) The film is a carefully measured and satisfying, albeit occasionally deaf-tone, suite of fleeting, dispersed impressions.‐ Slant Magazine
Read More | Posted Sep 27, 2015
100% Something Better To Come (2015) With a few painterly strokes, Hanna Polak's camera powerfully evokes the dump's hellish dimension. ‐ Slant Magazine
Read More | Posted Jun 5, 2015
3.5/4 100% The Vanquishing Of The Witch Baba Yaga (2014) The film becomes akin to variations on a theme, executed with visual finesse, and enhanced by its many rich textures.‐ Slant Magazine
Read More | Posted Oct 12, 2014
3/4 96% Burning Bush (2014) The decentralized narrative benefits from the film's original conception as a miniseries, with plenty of time to draw us into the morass that was the communist state.‐ Slant Magazine
Read More | Posted Jun 8, 2014