The gradual death of celluloid is wistfully mourned in the cine-manic thriller “The Projectionist,” and that’s before it takes on an altogether darker metaphoric resonance — as both physical and psychological projections are spliced in the mind of a lonely traveling cinema manager. The latest feature from prolific young Dominican writer-director José María Cabral — whose last film, “Woodpeckers,” competed at Sundance in 2017 — is his most ambitious and invitingly polished to date, doffing its cap to such intricate Av-based puzzles as “The Conversation” and “Blow Out” while working its own surprising brand of melodrama. Though the drama collapses a little in its cluttered final reels, this is still an inventive vision, carried by the crumpled soulfulness of leading man Felix Germán and vibrant, sweat-soaked visuals: Never has the richness of Kodak stock been more thematically vital to a film’s success.
“The Projectionist’s” cinephilic leanings and nifty genre gymnastics should...
“The Projectionist’s” cinephilic leanings and nifty genre gymnastics should...
- 3/5/2019
- by Guy Lodge
- Variety Film + TV
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