In one of those serendipitous quirks of scheduling that festival-going sometimes throws up, I saw what are currently my favourite male and females performances among 2010's new films in consecutive screenings on the final Saturday of the Viennale.
Attentive readers of this site will already be familiar with my enthusiasm for Mišel Matičević and his work in Thomas Arslan's In the Shadows(Im Schatten)—itself one of the year's most outstanding world-premieres—which I wrote about in my dispatches from the Berlinale back in February.
Over eight months later I had my second viewing of the picture, an absorbingly low-key, stripped down neo-noir that showcases the strengths of what's become known as the "Berlin School," built four-square around the very precise, very physical, largely wordless turn from Matičević ("stone-faced," according to Variety's enthusiastic belated review, published in the wake of the picture's early October screening at the Vancouver Film Festival.
Attentive readers of this site will already be familiar with my enthusiasm for Mišel Matičević and his work in Thomas Arslan's In the Shadows(Im Schatten)—itself one of the year's most outstanding world-premieres—which I wrote about in my dispatches from the Berlinale back in February.
Over eight months later I had my second viewing of the picture, an absorbingly low-key, stripped down neo-noir that showcases the strengths of what's become known as the "Berlin School," built four-square around the very precise, very physical, largely wordless turn from Matičević ("stone-faced," according to Variety's enthusiastic belated review, published in the wake of the picture's early October screening at the Vancouver Film Festival.
- 11/10/2010
- MUBI
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