Giovanni Marchini Camia

All articles by Giovanni Marchini Camia

Festivals

Her Private Hell: Nicolas Winding Refn’s gory neon fairytale puts style before substance

The Danish director returns to feature filmmaking with more violent eye-gouging, ambiguous irony and neon-fetishising cinematography in a story of a fantastical metropolis that suffers from wafer-thin characterisation.

By Giovanni Marchini Camia

Her Private Hell: Nicolas Winding Refn’s gory neon fairytale puts style before substance

Reviews

The Secret Agent: a masterful genre-inflected epic from Kleber Mendonça Filho

By Giovanni Marchini Camia

The Secret Agent: a masterful genre-inflected epic from Kleber Mendonça Filho

Reviews

It’s Not Me: Leos Carax’s playful self-portrait reflects on a life of adventurous filmmaking

By Giovanni Marchini Camia

It’s Not Me: Leos Carax’s playful self-portrait reflects on a life of adventurous filmmaking

Festivals

Grand Tour: Miguel Gomes’ seductive, globetrotting ode to cinema

By Giovanni Marchini Camia

Grand Tour: Miguel Gomes’ seductive, globetrotting ode to cinema

Festivals

Caught by the Tides: Jia Zhangke reincarnates his greatest works in a sprawling, essayistic love story

By Giovanni Marchini Camia

Caught by the Tides: Jia Zhangke reincarnates his greatest works in a sprawling, essayistic love story

Festivals

A Brighter Tomorrow: Nanni Moretti recycles his greatest hits

By Giovanni Marchini Camia

A Brighter Tomorrow: Nanni Moretti recycles his greatest hits

Festivals

Fallen Leaves: Kaurismäki returns with a bittersweet cinephile romance

By Giovanni Marchini Camia

Fallen Leaves: Kaurismäki returns with a bittersweet cinephile romance

Festivals

The Plough: a downbeat meditation on art and love

By Giovanni Marchini Camia

The Plough: a downbeat meditation on art and love

Festivals

Sunshine State: Steve McQueen’s haunting art installation

By Giovanni Marchini Camia

Sunshine State: Steve McQueen’s haunting art installation

Reviews

Nascondino (Hide and Seek): this document of Italian youth criminality is surprisingly unilluminating

By Giovanni Marchini Camia

Nascondino (Hide and Seek): this document of Italian youth criminality is surprisingly unilluminating

Reviews

Futura: a youth-focused anthropological study from three modern greats of Italian cinema

By Giovanni Marchini Camia

Futura: a youth-focused anthropological study from three modern greats of Italian cinema

Festivals

Crimes of the Future: insurgent surgery with David Cronenberg’s plastic people

By Giovanni Marchini Camia

Crimes of the Future: insurgent surgery with David Cronenberg’s plastic people

Festivals

Armageddon Time: James Gray reflects on his New York boyhood and loss of racial innocence

By Giovanni Marchini Camia

Armageddon Time: James Gray reflects on his New York boyhood and loss of racial innocence

Festivals

Annette sings up a storm of love, lust and lamentation

By Giovanni Marchini Camia

Annette sings up a storm of love, lust and lamentation

Festivals

France shows that all the world’s a stage for the media

By Giovanni Marchini Camia

France shows that all the world’s a stage for the media

Festivals

The Tsugua Diaries delights with a playful Portuguese puzzle

By Giovanni Marchini Camia

The Tsugua Diaries delights with a playful Portuguese puzzle

Reviews

Martin Eden plays with history to tell a ragù to riches story

By Giovanni Marchini Camia

Martin Eden plays with history to tell a ragù to riches story

Reviews

Ghost Strata continues Ben Rivers’ cinematic archaeology

By Giovanni Marchini Camia

Ghost Strata continues Ben Rivers’ cinematic archaeology

Best of 2020

Undine is Christian Petzold’s slippery love song to Berlin

By Giovanni Marchini Camia

Undine is Christian Petzold’s slippery love song to Berlin

Best of 2020

Days: Tsai Ming-liang makes his peace with sexual release

By Giovanni Marchini Camia

Days: Tsai Ming-liang makes his peace with sexual release

Reviews

The Whistlers review: Corneliu Porumboiu’s Canary Islands crime caper sings flat

By Giovanni Marchini Camia

The Whistlers review: Corneliu Porumboiu’s Canary Islands crime caper sings flat

Reviews

Synonyms first look: Nadav Lapid muddies the dreams of an Israeli in Paris

By Giovanni Marchini Camia

Synonyms first look: Nadav Lapid muddies the dreams of an Israeli in Paris

Reviews

Non-Fiction first look: Juliette Binoche and Guillaume Canet talk out publishing’s digital takeover

By Giovanni Marchini Camia

Non-Fiction first look: Juliette Binoche and Guillaume Canet talk out publishing’s digital takeover

Reviews

Zombi Child first look: a post-colonial boarding-school voodoo horror

By Giovanni Marchini Camia

Zombi Child first look: a post-colonial boarding-school voodoo horror

Festivals

What should have won the 2019 Cannes Palme d’Or?

By Isabel Stevens, Nick James and others

What should have won the 2019 Cannes Palme d’Or?

Reviews

The Halt first look: Lav Diaz dreams a cataclysm for his country

By Giovanni Marchini Camia

The Halt first look: Lav Diaz dreams a cataclysm for his country

Reviews

Lux Æterna first look: Gaspar Noé builds a meta-movie bonfire

By Giovanni Marchini Camia

Lux Æterna first look: Gaspar Noé builds a meta-movie bonfire

Reviews

Ash Is Purest White first look: Jia Zhangke’s magisterial mob critique

By Giovanni Marchini Camia

Ash Is Purest White first look: Jia Zhangke’s magisterial mob critique

Reviews

Berlinale first look: Earth presents a symphony of Anthropogenic destruction

By Giovanni Marchini Camia

Berlinale first look: Earth presents a symphony of Anthropogenic destruction

Reviews

Berlinale first look: The Blue Flower of Novalis is verité portraiture to reckon with

By Giovanni Marchini Camia

Berlinale first look: The Blue Flower of Novalis is verité portraiture to reckon with