‘Loving Highsmith’ Film Review: Intimate Portrait of Author Patricia Highsmith Spotlights Relationships

Christopher Vourlias Dubai-based sales agent Cercamon has acquired world sales rights excluding Switzerland for Laura Kaehr’s first feature documentary “Becoming Giulia,” which has its world premiere Sept. 23 in the Focus competition at the Zurich Film Festival. Produced by Point Prod, the outfit behind Elie Grappe’s Cannes Critics’ Week prize winner “Olga,” in partnership with SRG SSR, the film is an intimate and committed look at the journey of a woman who reclaims her body and herself to return to the stage. Shot over three years, “Becoming Giulia” opens with prima ballerina Giulia Tonelli returning to the main stage at the Zurich Opera House after an 11-month absence due to her first pregnancy. The film offers a sensitive portrait of an artist at the top of her craft, moving from rehearsals to opening nights to everyday life in the home, even as Tonelli juggles the competing demands of work and family. Along the way, the viewer also meets her family and collaborators, including upcoming Zurich Opera director and celebrated choreographer Cathy Marston.

could he? And even if he can sign on with a freighter taking cargo to Southeast Asia, what can he do when he gets to Saigon?He embarks on the trip at least partly because nobody he knows thinks he’ll actually do it, and he bumbles his way around Vietnam with a bag full of beer that dispenses so many cans of Pabst Blue Ribbon it starts to feel like a cross between a clown car and Jesus’s loaves and fishes. (Chickie and his pals, Catholics all, would either appreciate or be offended by the Jesus comparison.)The point of the movie, of course, is what Chickie learns in Vietnam — that it’s a quagmire, that the good guys and bad guys aren’t as clear-cut as they might have seemed back at the bar, and that Americans are being lied to about what’s happening by their government. But to learn his lessons, he’s got to find his way around a good chunk of Vietnam, hitching rides on military helicopters because the top brass figures that he must be CIA, since a civilian can’t really be wandering around in country.

Endlessness might be the right word for viewers in 2022, given the conflicts that still wrack the globe more than 100 years after the events in this film.)“All Quiet on the Western Front” starts with the bucolic landscape of Western Europe in 1917; we know we’re in for carnage, but first we see hills and trees, clouds sitting in a pink-tinged sky, fog slipping through the woods. It’s a technique Berger and his cinematographer James Friend return to again and again, deliberately placing their story in a world that would look like paradise if not for the blood squabbles of humans.And “All Quiet” doesn’t give us time to bask in that beauty; before long, we’re in a short, brutal battle, and then the ground is littered with dead bodies.

good nurse: attentive in her job, loving towards her children, eager to please. She’s also suffering from a heart condition; blood blisters have formed on her ventricles, and she requires a heart transplant sooner than later.

Natasha Tripney’s review of the book in The Guardian, she describes the Marion and Patrick points of view, saying that the “possessive note is the key to their tragedy and it’s telling that the man so desired by them both remains voiceless, distant.” That is not the case in Grandage’s film, adapted for the screen by Ron Nyswaner (“Philadelphia”), in which Tom is very much a real person but still feels “voiceless, distant,” a slippery, elusive character. There is a gulf between the older Tom and the younger Tom in “My Policeman,” in both writing and performance, as there is with all of the younger and older characters in the film. Older Tom is bitter and taciturn, avoiding his wife by taking long walks on the sea wall with his dog.

somewhere to recuperate, Lindsay heads to her mother’s house in New Orleans, where mom has a boyfriend, uncertain hours and a taste for booze that her daughter doesn’t share. Not suited to sitting at home, Lindsay gets a job cleaning pools, then befriends James (Henry), the owner of a car repair joint and a man whose marriage ended badly some years earlier.Their friendship grows slowly and moves with easy Crescent City rhythms.

At first pass, “The Woman King” recalls those classic Disney animated fables. Though inspired by real-life warriors who guarded the Kingdom of Dahomey in 19th-century West Africa, the film hits many familiar notes: Ancient mythical land! Palace intrigue! Rebellious orphan! Tough-love mentors! Coming of age! Prince charming! Wicked villain! Good vs. evil showdown! It’s just that here, the tropes aren’t metaphors at all and the story isn’t an allegory. In the Sony Pictures release that premiered on Friday night at the Toronto International Film Festival, Oscar winner Viola Davis stars as General Nanisca, commander of the Agojie, an all-female army, and adviser to the young King Ghezo (John Boyega), who has recently ascended to the throne.

does, relying on more dynamic, albeit repetitive, scenes of her having to address the danger in her life.Much attention has been paid to Hillary and Chelsea Clinton’s executive-producing role in the film, a fitting match for a documentary on a female politician struggling against the status quo. Ghafari rages against the system in question, but one glance at her office and her peers, and it’s easy to see that her staff consists of mostly men.

something to come of this chance encounter, anything to buoy her or tether her to this world.For the most part, “True Things” is a depiction of this ebb and flow between Kate and Blond. He’s a man almost of her own imagination, rarely if ever integrating himself into her life outside of their clandestine meet-ups. She goes with him to a party; he ghosts.

spoiler: Fernando tells Daniel to go to a nightclub called Vibe, where Sara will be waiting for him. Daniel does as he is told, and he makes a silent connection with a woman there, but then she runs out of the club.

“Don’t Worry Darling” is a mixture of “The Stepford Wives” and “Get Out” is both accurate and deeply misleading. It’s accurate because Olivia Wilde’s satiric and somewhat frantic psychological thriller does borrow from films like “Stepford,” where an idealized community is one in which the women are dolls designed for male satisfaction, and “Get Out,” which uses horror trappings to grapple with timely issues of power and privilege.