Contributor
André Crous
André Crous is a professional film critic and is a member of FIPRESCI.
His French honour’s degree thesis focused on the cinematic development of François Truffaut’s Antoine Doinel character across five films.
His first master’s degree thesis examined the scope and significance of tracking shots in Mikhail Kalatozov’s I Am Cuba, Martin Scorsese’s GoodFellas and Paul Thomas Anderson’s Boogie Nights. Staying with Anderson, his second master’s degree thesis tracked the inclusion of extraordinary moments (from puddings speaking to characters seemingly hearing a non-diegetic song being played on the soundtrack) in Punch-Drunk Love and Magnolia.
His Ph.D. dissertation, which primarily concentrated on a handful of films by Michael Winterbottom (Welcome to Sarajevo, 24 Hour Party People, In This World, 9 Songs and A Cock and Bull Story), considered the definition of realism within the context of combinations of so-called “real” or archive footage with reconstructions or dramatisations. I reached the conclusion that “realism” is no longer tied to the experience of the viewer in the world alone but also to the experiences with which the viewer is confronted in the cinema.
Featured Reviews
The Book Thief, which seems to shift the blame for the atrocities of Nazi Germany to an offscreen character named “Death”, is one of the worst World War II films that have ever seen the light of day.
A man reaching the end of his natural life has to juggle his quest to find a decent adoptive family for his dog and an unexpected visit from an old friend.
Noah, a remarkably perceptive short film about the consequences of relying on social media alone to gauge what is happening in real life, has first-rate visuals and a climax immersed in a quiet pathos.
In the exquisite Whiplash, Damien Chazelle’s second feature, we catch a glimpse of a young drummer’s blood, sweat and tears on the way to greatness.
Despite this unrelentingly close experience of events, a number of self-conscious shots in which we only see the back of main actress Denise Newman’s head, and a story that is very simple, first-time director Hermanus succeeds in gripping his audience thanks to his self-assured direction that steers the film away from any fake sentimentality.
It is truly remarkable that this film, whose subject is always implied but never mentioned by name, can have such a strong impact on a viewer who has grown up in a much less restricted era of movie-going.
This medium-length film is interesting on many levels, and while the action transcends mere slapstick, Keaton’s conception of the film’s biggest stunts makes for remarkable commentary on the perspective of the viewer.
Napoléon, by French filmmaker Abel Gance, is an experimental epic that has achieved the status of legend, with good reason.
No Man’s Land is a small yet devastating film about two soldiers from opposing sides stuck in a trench on the battlefield (no man’s land), somewhere near Tuzla in Bosnia and Herzegovina, during the Yugoslav Wars of the 1990s.
There’s more. View an archive of all reviews by André Crous.
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There will be few dry eyes in the house at the close of the film, and hopefully many a viewer’s heart will beat with rage at the injustice that good people suffer at the hands of those who follow often pointless rules to a fault and relish their power over the powerless.