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This publication’s reviews only count towards the Tomatometer when published by individually approved critics.
MoviesTV Shows
Ela Bittencourt Frieze May 6, 2026 The film's earlier scenes binding sensuality and archives, while seeming quirky, have a real psychological pay-off... The film conveys the sense that, while the vulnerability of archives lies in their fragmentation, their power is in being unfinished. Go to Full Review The Secret Agent (2025) 98% - -
Ela Bittencourt Frieze Jan 3, 2025 With lush cinematography and a throbbing 1990s-rock soundtrack, this sweet yet melancholic film establishes the Boukherma brothers as passionate chroniclers of their generation’s increasing sense of socioeconomic entrapment. Go to Full Review And Their Children After Them (2024) 82% - -
Ela Bittencourt Frieze Jan 3, 2025 As a whole, the film is as much a quiet condemnation of man’s extractivist attitudes as it is a cinematic dirge for humankind’s impending exit. Go to Full Review Bestiaries, Herbaria, Lapidaries (2024) - - - -
Ela Bittencourt Frieze Jan 3, 2025 Highly refreshing... Kidman plays out kink scenes with a disarming mixture of vulnerability, hilarity and edginess. Go to Full Review Babygirl (2024) 76% - -
Ela Bittencourt Frieze Jan 3, 2025 [The Brutalist] at times meandering and over-indulgent, misses the opportunity to illuminate how the architectural style emerged from the chaos and destruction of war. Nonetheless, the film is uplifted by Brody’s flinty performance. Go to Full Review The Brutalist (2024) 93% - -
Ela Bittencourt Frieze Aug 8, 2018 Elsa Dorfman's work is ephemeral yet grand: using a giant 20" x 24" camera, that is now discontinued, Dorfman has produced some of the world's largest Polaroid images, showing that unwieldy technology does not need to be limiting when used imaginatively. Go to Full Review The B-Side: Elsa Dorfman's Portrait Photography (2016) 97% 67%
Ela Bittencourt Frieze Aug 8, 2018 In the final scenes,... the painterly mise-en-scene and cinematography - golden and ochre hews, Venetian reds, soft camera focus and the glowing whiteness of doctors' caftans, illumined by multiple light sources a la Vermeer - turn death into a feast. Go to Full Review The Death of Louis XIV (2016) 87% 58%
Ela Bittencourt Frieze Aug 8, 2018 Williams sympathizes with his protagonists, though his film is too fluid and keen on catching the quirkiness of everyday speech and capturing languid moods to act as agitprop. Go to Full Review The Human Surge (2016) 57% 43%
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