![]() ![]() As co-founder of Shadow and Act and the Black Harvest Film Festival, he gave an innumerable number of Black creatives their first platform (so many people owe their place in this industry to him). He didn't just champion filmmaking he lived it. Sergio hailed from the South Side of Chicago. So many people below me here express what I somehow struggle to say, and I'm grateful for that, so I will only note that the two words I think of first when I think of Sergio are "brilliant" and "kind." May we all be lucky enough to be considered a model of those traits when we go. It's one of those momentous losses in our community after which nothing is the same. He's always been not just present but foundational and influential. There's something that just feels so wrong about him not being around anymore that words can't express. I've struggled greatly with what to say about Sergio, more than I can ever remember after facing a loss. ![]() He will be so dearly missed, and our condolences go out to his friends and family. We wanted to open a platform to his colleagues and friends to help express their loss and what Sergio meant to them. theaters via Mubi.Sergio Mims, the co-founder of the Black Harvest Film Festival, a contributor to this site, and a long-standing member of the Chicago Film Critics Association, passed away this week at the age of 67. Kiss god gave rock and roll to you wiki how to#It’s Park’s first film in six years, following a post-“Handmaid” detour to do the English-language TV miniseries “The Little Drummer Girl.” And it puts him right back where he left off, as a remarkable visual stylist who doesn’t always know when to stop but always knows how to impress. Park takes his time and weaves the strands into a work of occasionally perplexing beauty from the craggy peak to impeccably detailed living spaces to a forest clearing with gentle snow flurries, the film grows more lustrous as Hae-joon becomes more complicit in whatever games Seo-rae is playing. This is all laid out in a tour de force of intricate filmmaking long on mood and drama and slippery changes of direction. Hae-joon has a wife that he only sees on weekends, and before long Seo-rae becomes his companion the rest of the week, in a relationship that morphs from surveillance to seduction and turns her from a person of interest to an object of obsession. Hae-joon and his partner investigate, and immediately wonder why the dead man’s widow, Seo-rae (Tang Wei, “Lust, Caution”) is so composed and unemotional.Ĭannes So Far: Income Inequality, Ticket Troubles and the Ghost of COVID He gets a new case that could simply be an accident: A man climbs a rocky peak outside Busan and falls to his death – unless he was pushed, or deliberately jumped. “It’s not that I can’t sleep because I do stakeouts,” he explains at one point. Detective Hae-joon (Park Hae-il) is apparently a master of the stakeout, and a man perpetually gripped by insomnia. It starts with a burst of gunfire, but that’s just from a pair of police detectives who are killing time at the firing range and bemoaning the fact that there are few murder cases to solve these days. Richly dramatic and at times confounding, it’s a gorgeous piece of work that has the ability to move you in one moment and leave you cold in the next. He also has a fondness for oversized stories that grow more complex as they develop, with “Decision to Leave” a formidable 2 hour, 18 minute mixture of crime story, love story and meditation on loss. ‘Hunt’ Film Review: ‘Squid Game’ Actor Lee Jung-jae Brings a Dense Spy Thriller to Cannes ![]()
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