Diego Semerene

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Slant Magazine
For 299 reviews, this critic has graded:
  • 37% higher than the average critic
  • 3% same as the average critic
  • 60% lower than the average critic
On average, this critic grades 8.9 points lower than other critics. (0-100 point scale)

Diego Semerene's Scores

  • Movies
  • TV
Average review score: 57
Highest review score: 100 Tomboy
Lowest review score: 0 The Roads Not Taken
Score distribution:
  1. Positive: 156 out of 299
  2. Mixed: 43 out of 299
  3. Negative: 100 out of 299
299 movie reviews
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    • 93 Metascore
    • 100 Diego Semerene
    Our Body
    Our Body offers, in its unwavering commitment to staring at the fragility of life in the eye, a solace devoid of romanticism or spiritual self-delusion.
    • 89 Metascore
    • 100 Diego Semerene
    Elle
    This is a film that isn’t afraid to inhabit the maddening ambivalence of pleasure, recognizing that desire simply doesn’t recognize good manners.
    • tbd Metascore
    • 100 Diego Semerene
    Queen at Sea
    As much as Binoche is the backbone of Queen at Sea, Courtenay and Calder-Marshall’s raw performances are no less impressive.
    • 83 Metascore
    • 100 Diego Semerene
    Miss Kiet's Children
    Childhood in Peter Lataster and Petra Lataster-Czisch's documentary is the terrain of contradiction and ambiguity.
    • 81 Metascore
    • 100 Diego Semerene
    Beginners
    One of the most distinct pleasures of Beginners is the way it puts together fragments of someone's life-presumably the filmmaker's, although little does it matter-with humility, and without vying for some complete whole.
    • 82 Metascore
    • 100 Diego Semerene
    Joyland
    Joyland is full of extraordinary situations that prevent it from being defined by its topicality or tantamount to a badge of honor.
    • 74 Metascore
    • 100 Diego Semerene
    Tomboy
    Tomboy is one of those little big films whose simplicity and concision suggest the excess of meaning that language (cinematic or otherwise) could never account for.
    • 89 Metascore
    • 100 Diego Semerene
    Mr. Bachmann and His Class
    The documentary exists within the very restricted pantheon of films that successfully reap the cinematic potential of pedagogy.
    • 82 Metascore
    • 100 Diego Semerene
    Stranger by the Lake
    Alain Guiraudie's film portrays cruising as a danger-seeking and astoundingly repetitive affair, intimately linked to death itself.
    • tbd Metascore
    • 100 Diego Semerene
    Paraguay Remembered
    Like most great essay films, Paraguay Remembered is driven by associations not just with art works with which it shares a kinship, but a stream-of-conscious relationship between word and image.
    • 75 Metascore
    • 88 Diego Semerene
    The Bad Kids
    Keith Fulton and Louis Pepe's documentary raises important questions about the limits of pedagogy.
    • 68 Metascore
    • 88 Diego Semerene
    In the Basement
    Cinema hasn't been this close to the dusty cogs of desire's machinery and unapologetic about pleasure since Pasolini.
    • 71 Metascore
    • 88 Diego Semerene
    Preparations to be Together for an Unknown Period of Time
    Lili Horvát’s film delights in wallowing in ambiguity, contradiction, and doubt.
    • 81 Metascore
    • 88 Diego Semerene
    Chinese Portrait
    The simplicity of bodies barely moving before a camera that brings their quotidian temporality into a halt is nothing short of a radical proposition in our digital era.
    • 73 Metascore
    • 88 Diego Semerene
    4 Days in France
    There’s something liberating about such a steady creative hand that rejects justifying the twists and turns of a storyline, which becomes in 4 Days in France something akin to cruising itself.
    • 74 Metascore
    • 88 Diego Semerene
    Land and Shade
    The landscape seems to push the characters away at the same time that it anchors them into place, suggesting that elsewhere is a promise that only dreams can keep.
    • 59 Metascore
    • 88 Diego Semerene
    Dating Amber
    Dating Amber rather seamlessly strips itself of its hyperbolic affectations to reveal a heartbreaking story of emancipation through friendship.
    • 65 Metascore
    • 88 Diego Semerene
    Tharlo
    In the logic of the film, for the camera to move at all would feel like a betrayal of its contemplative hunger.
    • 54 Metascore
    • 88 Diego Semerene
    Clip
    A raw, sophisticated, and stomach-turning look at what it means to be a young woman in Serbia, what it means to be a woman tout court.
    • 80 Metascore
    • 88 Diego Semerene
    The King of Escape
    Cruising for Alain Guiraudie seems to be the way of nature, a drive that doesn't discriminate.
    • 72 Metascore
    • 88 Diego Semerene
    The Painted Bird
    Václav Marhoul’s film is at its most magnificent when it lingers on the poetry of its images.
    • 89 Metascore
    • 88 Diego Semerene
    Great Freedom
    In Great Freedom, the question of love is refreshingly never too far from bodily intimacy, irrespective of what kind of love that is.
    • 64 Metascore
    • 88 Diego Semerene
    Jean Gentil
    Filmmakers Laura Amelia Guzmán and Israel Cárdenas have crafted a beautiful tale of alienation, solitude, and existential anxiety.
    • 57 Metascore
    • 88 Diego Semerene
    Salvation Army
    It's a quiet thud of a film, which embraces, with grace and precision, the nastiness of growing up with desire stuck in one's throat like a muffled scream.
    • 83 Metascore
    • 88 Diego Semerene
    The Blue Caftan
    The film is best experienced by simply wallowing in the lushness of its fabrics, sartorial and symbolic alike, refusing the temptation to unspool its poetic parallels.
    • 74 Metascore
    • 88 Diego Semerene
    Paris 05:59: Théo & Hugo
    Very few films accept the contradicting velocities of gay desire, and present them in such blunt yet graceful fashion, the way Paris 05:59 does.
    • 95 Metascore
    • 88 Diego Semerene
    Collective
    The film reminds us that without investigative reporting there’s no democracy, and that traditional expectations around impartiality and objectivity may be untenable in the face of horror.
    • 59 Metascore
    • 88 Diego Semerene
    Valley of Love
    The film enables us to feel the emotional weight of a posthumous letter precisely because we can only imagine its contents.
    • 73 Metascore
    • 88 Diego Semerene
    From Afar
    The film renders visible a very complicated, and awfully repressed, truth not only about gay desire, but desire in general.
    • 71 Metascore
    • 88 Diego Semerene
    Disco Boy
    Lack of clarity, it turns out, is what makes Disco Boy so enjoyable, and imbues it with gravitas.
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