ORPHAN_The two Russian-born, French-naturalized brothers Evgenij and Saša Gal’perin, active in cinema for over two decades (Loveless, Corpus Christi, Happening, Under the Leaves), have always worked within a rigorous syncretism of acoustic elements and technological resources. Specialists in suspended, questioning atmospheres, they weave Nemes’ film with disoriented piano solos, at times flowing into Magyar folk reminiscences, at others into glassy string dissonances that occasionally dissolve into more melodic and poignant appeals. All of this strengthens the film’s dark atmosphere, often effectively taking the place of dialogue, underscoring the hopeless odyssey of the very young, unhappy protagonist.
Budapest, spring 1957: a year after the failed Hungarian revolution, twelve-year-old Jewish boy Andor, raised by his mother on idealized stories of his late father, sees his world collapse when a brutal man shows up at their door claiming to be his real father. The boy firmly ...
An intimate, generational comedy, laced with irony and tinged with drama, written by Noah Baumbach together with Greta Gerwig. A lightning-fast road movie, unfolding over the course of a single weekend, it proves both surprising and deeply meaningful for two middle-aged friend...
JAY KELLY_New York composer and pianist Nicholas Britell (12 Years a Slave, Vice, If Beale Street Could Talk, Don’t Look Up) favors his instrument of choice, bending it sometimes to melancholically romantic soliloquies, other times to more animated movements, accompanying Baumbach’s film through its constant shifts in tone—from comedy to melodrama to surreal and fantastical dimensions. Thus unfold French-style waltzes or Mediterranean ditties that verge on the simplistic, adagios alternating with nervous string staccatos, rhythmically charged passages that feel almost “action-like.” It is a lively, colorful kaleidoscope that deliberately recycles certain musical clichés with a disorienting polystylism.
