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June 1, 2022 / barton smock

( some current words toward We’re All Going To The World’s Fair ( some other former words toward ( also

We’re All Going To The World’s Fair has to it an unworried precision that had me thinking I might have forgotten to shut down, in another life, an electric toothbrush. If any pulse is taken, it’s the pulse of separation and director Jane Schoenbrun is songbook tender and secretly protective enough to hum the art of this film into the disconnected wrists of those whose online has no off. Schoenbrun and lead Anna Cobb make of knowing a current terror and no sky here falls that hasn’t been dropped. Cobb, with deadpan abstraction, gives a performance worth of sleep’s eternal jump-scare and works with the film outside of the film to put an end to vice-versa that we might more blankly keep those who are constantly notified away from those who appear by looking at the vanished.    


While keeping confession pinned beneath the unholy ripple of Tim Roth's flickering muscle of a performance, Resurrection, as guided and committedly freed by director Andrew Semans, is a film of secret chaos and bodily left turns that lovingly loses its permission to a possessed and wholly overtaken showing from Rebecca Hall. While surely mad and caringly unpredictable, it wouldn't be able to talk its tongues without the work that Grace Kaufman does as a child who moves the happening from under the accident with a waiting lonely enough to cradle the hurting young and uncarried old.


Elegantly untouched by director Nikyatu Jusu, who knows that stories are owed their belongings, Nanny is a delayed stunner of a film that never feels behind or slow but instead, and in line with the spiritual and physical fluidity of Anna Diop's fictile performance, stops and starts in a depth that feels both timeworn and newly doomed. 

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