Rory O'Connor

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The Film Stage
For 262 reviews, this critic has graded:
  • 66% higher than the average critic
  • 4% same as the average critic
  • 30% lower than the average critic
On average, this critic grades 12.7 points higher than other critics. (0-100 point scale)

Rory O'Connor's Scores

  • Movies
  • TV
Average review score: 78
Highest review score: 100 Wheel of Fortune and Fantasy
Lowest review score: 0 The Last Face
Score distribution:
  1. Positive: 240 out of 262
  2. Mixed: 17 out of 262
  3. Negative: 5 out of 262
262 movie reviews
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    • 96 Metascore
    • 83 Rory O'Connor
    Roma
    Despite the echoes of Fellini, the result feels almost new in a way and given the immersive nature of Roma it doesn’t seem so radical to consider experiencing its cinematic beauty with a clunky headset on.
    • 95 Metascore
    • 91 Rory O'Connor
    Aftersun
    Aftersun is a beautiful film, albeit one with too many endings, brimming with inner life and creativity, and worthy of comparison to Lynne Ramsay’s Ratcatcher and other debuts of that ilk.
    • 94 Metascore
    • 91 Rory O'Connor
    Inside Out
    It’s amongst the smartest, funniest, and saddest films in the studio’s history.
    • 94 Metascore
    • 91 Rory O'Connor
    Marriage Story
    Marriage Story shows Baumbach reaching an entirely new level in his most consummate film to date.
    • 94 Metascore
    • 91 Rory O'Connor
    La La Land
    It’s a twinkling surface examination of how humans try to coordinate their dreams with their reality (a very Hollywood conundrum), but also a celebration of just how wonderful old filmmaking techniques and emotions look and feel on modern L.A. streets.
    • 93 Metascore
    • 75 Rory O'Connor
    Shoplifters
    By drawing our empathy for such morally dubious and potentially damaging characters, Shoplifters remains a real heartbreaker, the kind of which only this director seems capable.
    • 93 Metascore
    • 83 Rory O'Connor
    No Other Land
    It is a story about power and it needs to be told.
    • 93 Metascore
    • 91 Rory O'Connor
    Two Seasons, Two Strangers
    Two Seasons is the rare film that begins with mundane clarity (remember, “scene 1, summer, seaside”) and works its way back, leaving you with the knottier stuff of life. Along the way, Li remembers what it’s like to have fun; the movie dutifully follows her lead.
    • 93 Metascore
    • 83 Rory O'Connor
    TÁR
    TÁR is an effort of tremendous skill and restraint, beginning with a confidence bordering on arrogance and building to a brilliant crescendo—only after that first act do the best things begin to surface, the compelling energy of ruthless ambition and the unmistakable, delicious hum of dread.
    • 92 Metascore
    • 91 Rory O'Connor
    One More Time with Feeling
    The most remarkable thing about Dominik’s film is that we are not only humble witnesses to such personal grief, but that we are seeing it actively articulated by such a fascinating mind.
    • 92 Metascore
    • 91 Rory O'Connor
    Here
    Devos’ films can feel overly studied, slick to the point of being contrived, yet with each passing work––each reduction to the most potent flavors––he edges closer to something truly great. Here is his finest yet, an almost-perfect little film.
    • 92 Metascore
    • 67 Rory O'Connor
    The Florida Project
    Baker indulges just a little too much time shooting his young hyperactive actors in off-key locations and perhaps not enough on their character development or narrative arcs.
    • 92 Metascore
    • 67 Rory O'Connor
    Days
    It will sound like sacrilege, but Days could be the rare case of a Tsai Ming-liang film that doesn’t ever quite connect up and one that might even benefit from some cutting back.
    • 92 Metascore
    • 100 Rory O'Connor
    The Zone of Interest
    It’s a shocking piece of audio-visual art that only further cements Glazer as one of the 21st century’s most original and influential filmmakers.
    • 91 Metascore
    • 83 Rory O'Connor
    Burning
    Burning might not have a huge amount going on below its gorgeous surface, but it drags the viewer along with all the seductive intrigue of a frothy page-turner.
    • 91 Metascore
    • 91 Rory O'Connor
    Drive My Car
    It’s a graceful, aching film that sculpts and stretches Murakami’s story into an enchanting three-hour epic (my, do the minutes fly by) about trauma and mourning, shared solitude, and the possibility of moving on. The narrative also doubles as a lovely ode to the car itself, and the strange ways that people open up when cocooned inside them.
    • 64 Metascore
    • 83 Rory O'Connor
    Before We Vanish
    Anytime it feels that Before We Vanish is getting too caught up in its thought process, the director is always ready with a flash of ultra violence, slapstick humor, or a pithy line.
    • 91 Metascore
    • 83 Rory O'Connor
    Tótem
    It’s a wonderfully busy piece of work, fraught with messy emotions but in too much of a rush for overt sentimentality; though it does allow for one or two softer moments.
    • 91 Metascore
    • 83 Rory O'Connor
    Menus Plaisirs - Les Troisgros
    Menu Plaisirs is not amongst his masterpieces but it’s a fine late addition to the Wiseman canon––even in a media landscape so saturated with food shows and celebrity chefs, the director’s made a film that feels both fresh and artistically stimulating, unmistakably his own.
    • 91 Metascore
    • 100 Rory O'Connor
    The Brutalist
    The Brutalist is less-than-perfect (for all his charms, Guy Pearce is no Philip Seymour Hoffman or Daniel Day-Lewis) but it offers an all-too-rare reminder of how it feels when this artform is at its very best, and that has less to do with the scale of its ambitions than how effectively it combines movement, emotion, and sound.
    • 91 Metascore
    • 67 Rory O'Connor
    La Chimera
    No director of her genius would ever really make a bad film––if such a thing even exists––but we can be wary of a change in sensibilities here. Lazzaro‘s transcendental moments felt earned because his world was coarser to the touch. With Le Pupille and La Chimera, Rohrwacher is moving towards a cinema of fewer rough edges, and a poorer one for it.
    • 90 Metascore
    • 75 Rory O'Connor
    The Souvenir: Part II
    A daring work of meta-filmmaking in which Hogg loops backwards to re-reexamine her own past.
    • 90 Metascore
    • 83 Rory O'Connor
    Cold War
    If talk is cheap and deceptive — maybe even dangerous at times — in Cold War, music certainly is not.
    • 89 Metascore
    • 83 Rory O'Connor
    Mr. Bachmann and His Class
    There are plenty of laughs but also, of course, moments to trouble the tear-ducts.
    • 88 Metascore
    • 100 Rory O'Connor
    Three Billboards Outside Ebbing, Missouri
    McDonagh’s latest work is simply exceptional; a film so rich with narrative fluidity, profane laughs, standout performances and complex character studies that its tremendous emotional hits–often arriving when you least expect them–might just leave you agog.
    • 88 Metascore
    • 75 Rory O'Connor
    Hell or High Water
    David McKenzie’s Hell or High Water is a gritty, darkly humorous, and fiendishly violent neo-western.
    • 87 Metascore
    • 83 Rory O'Connor
    Familiar Touch
    It’s a wonderfully gentle piece of filmmaking––something of a low-key triumph that offers a novel perspective on a topic that had become, if not entirely worn out, at least clichéd.
    • 87 Metascore
    • 100 Rory O'Connor
    Happy as Lazzaro
    You could argue that Lazzaro Felice owes a debt to Pasolini with its fascination for peasants, saints, and faces, or even Gabriel Garcia Marquez with its mix of rural life and magical realism, but that would be to discredit the shear vivacity and boldness of Rohrwacher’s directorial hand, not to mention her incredible warmth as a filmmaker.
    • 87 Metascore
    • 75 Rory O'Connor
    Caught by the Tides
    There were times in Tides when I began wondering just how often one can go back to the well.
    • 87 Metascore
    • 91 Rory O'Connor
    Rose
    Needless to say, Hüller is magnificent in a role that relies heavily on her abilities as a physical performer. Schleinzer is, naturally, not in the business of cheap sentiment, but when something vaguely resembling happiness presents itself in the story, the restraint with which Hüller allows Rose’s heart to thaw is still remarkable.
    • 87 Metascore
    • 91 Rory O'Connor
    The Shape of Water
    In order to enjoy the myriad pleasures of del Toro’s world — with all its counterpointed humor, quicksilver pacing, endearing humanity, peculiar eroticism, and sudden eruptions of violence — one must simply take the plunge.
    • 86 Metascore
    • 83 Rory O'Connor
    Fallen Leaves
    As a film, Fallen Leaves could hardly be simpler––two people living separate, lonesome lives meet and maybe fall in love––but there is beauty in that simplicity and, as ever, Kaurismäki’s characters live far richer inner lives.
    • 86 Metascore
    • 83 Rory O'Connor
    The Red Turtle
    Despite there being no dialogue and very few characters, the film consistently celebrates the excitement of exploration and invention while also keeping the audience aware of the man’s growing frustrations.
    • 86 Metascore
    • 83 Rory O'Connor
    Showing Up
    Reichardt takes a jab or two at some of the hippy-dippy practices of Lizzie’s art school, but Showing Up is compassionate toward the efforts of teachers, artists, and students. Whether or not it goes anywhere, Lizzie’s pursuit has been a personal one. You sense Reichardt’s has too.
    • 86 Metascore
    • 75 Rory O'Connor
    Museo
    The heist sequence alone is a confident mix of visual inventiveness and nods. What the film does lack, intentionally or not, is a clear moral arrow.
    • 86 Metascore
    • 91 Rory O'Connor
    The Wild Pear Tree
    The staggering emotional payoff — a transcendental moment so beautiful in its simplicity that the previous three hours of seriousness appear to melt away — is worth every last minute.
    • 86 Metascore
    • 100 Rory O'Connor
    Wheel of Fortune and Fantasy
    It feels a complete whole––a wry intertwining dialectic on modern desires––yet each scene is uniquely bracing: beautifully poised, exquisitely observed, and even erotically charged––rife with unabashed seduction, though always close enough to farce to keep things kösher and to keep you guessing (it’s telling that we barely glimpse a kiss).
    • 86 Metascore
    • 83 Rory O'Connor
    One Fine Morning
    Shot in gorgeous natural light by Denis Lenoir (the cinematographer on all but one of her films since Eden), and backed by a soundtrack of typically esoteric needle-drops, the director delivers her finest in years by doing what she’s always done best: a humanistic story of when to love and when to let go.
    • 85 Metascore
    • 91 Rory O'Connor
    Fiume o morte!
    Dazzled and conflicted are some of the best things a documentary like this can be, and that clear passion for the subject, as well as Bezinović’s cinematic flair, makes for infectious, often-hilarious viewing.
    • 85 Metascore
    • 91 Rory O'Connor
    Birds of Passage
    As effectively violent and entertaining as Birds may be, there is a real current of bitterness and tragedy running through it. That bitterness speaks not of the physical colonization we saw with the conquistadors and rubber barons of Serpent, but more of a sort of colonization of ideas.
    • 85 Metascore
    • 100 Rory O'Connor
    Ash Is Purest White
    Ash is Purest White is a tremendous, funny, heartbreaking, sprawling vehicle for Zhao, and what a gift it is to see her exploring the furthest reaches of those talents.
    • 85 Metascore
    • 91 Rory O'Connor
    Varda by Agnès
    It is a swan song but not a melancholy tune, more a joyous celebratory coda to the director’s life and work, a film that feels purpose-built to dispel any notions of solemnity around her passing.
    • 85 Metascore
    • 91 Rory O'Connor
    The Delinquents
    It’s a cool film and never less than interesting, even as it meanders a bit too sleepily toward its final denouement.
    • 85 Metascore
    • 83 Rory O'Connor
    Alcarràs
    Alcarràs appears simple, even slight at first, but is deceptively far-reaching; enough at least to have impressed a Berlinale jury led by M. Night Shyamalan (and including no less than Ryusuke Hamaguchi), who collectively awarded Simón the Golden Bear.
    • 84 Metascore
    • 83 Rory O'Connor
    Once Upon a Time ... in Hollywood
    They don’t make ’em like they used to, Tarantino’s film seems to say, but nobody makes ’em like this, either.
    • 84 Metascore
    • 100 Rory O'Connor
    After the Storm
    This is Kore-eda at his very best, facing up to the hardest truths with honesty and a nervous laugh — uncomfortable, invigorating, and ultimately cleansing, like the cinema’s equivalent of a cold shower. And I mean that in the best way possible.
    • 84 Metascore
    • 100 Rory O'Connor
    The President's Cake
    It’s difficult to think of another debut that combines such crowd-pleasing sensibilities, political resonance, and cinematic sweep.
    • 84 Metascore
    • 83 Rory O'Connor
    Reality
    Satter’s fascinating film moves away from the rhythms of political thriller and into the eerie realm of the uncanny.
    • 84 Metascore
    • 100 Rory O'Connor
    Sirât
    The only thing that beats the lightning bolt of discovery is seeing a filmmaker build on it with each passing work, stretching out to explore the further reaches of their talents.
    • 84 Metascore
    • 91 Rory O'Connor
    In My Room
    In My Room is not so much about loss, but self-discovery.
    • 84 Metascore
    • 100 Rory O'Connor
    The Other Side of Hope
    Hope is as contemporary and vital a film as you’re likely to find in 2017, but it’s also one of the funniest and most classically (not to mention beautifully) cinematic too.
    • 84 Metascore
    • 83 Rory O'Connor
    Youth (Hard Times)
    Though Wang never directly addresses the wider forces driving this manic industry––mass consumption, globalization, fast fashion, capitalism––they seem to linger just outside the frame. On the ground level, however, the director isn’t pulling any punches regarding the people responsible for all this struggle and strife.
    • 84 Metascore
    • 91 Rory O'Connor
    Universal Language
    Everything from the film’s humanist energies, down to the timbre of the dialogue, rings like an endearing, never-labored homage to Persian cinema.
    • 83 Metascore
    • 83 Rory O'Connor
    De Palma
    De Palma is a fascinating, revealing, and compelling overview of a remarkably eclectic career, but it’s also a seldom-heard first-hand account of what it’s like to work inside and outside the Hollywood system.
    • 83 Metascore
    • 83 Rory O'Connor
    The Disciple
    It is not a flawless achievement, but The Disciple has that feel of a burgeoning master: the patience and sureness of touch; the controlled surrealist flourishes; the sheer ambition and scope.
    • 83 Metascore
    • 91 Rory O'Connor
    The Lighthouse
    Much like The Witch, there is something quite mesmerizing about the meticulousness in the period detail here and how Eggers so seems to revel in it.
    • 83 Metascore
    • 91 Rory O'Connor
    Bait
    Jenkin’s script is peppered with comedy, occasionally of a more subtle variety than men dressed as penises—even if that drew the biggest laugh.
    • 83 Metascore
    • 83 Rory O'Connor
    Evil Does Not Exist
    A quiet, funny, confounding mystery.
    • 83 Metascore
    • 83 Rory O'Connor
    Belle
    Belle is the most ambitious work yet from Hosoda.
    • 83 Metascore
    • 75 Rory O'Connor
    BlacKkKlansman
    A perfectly decent comedy that will be accessible enough for a wide mainstream audience.
    • 83 Metascore
    • 91 Rory O'Connor
    Souleymane's Story
    Best of all, Lojkine’s film comes with a refreshing generosity of spirit.
    • 83 Metascore
    • 83 Rory O'Connor
    Inshallah a Boy
    Al Rasheed’s film has traveled the festival circuit from Mumbai to Toronto, the kind of whistle-stop global tour a politically oriented festival title occasionally enjoys when its message is as clear as this and, better yet, when it doesn’t forget to entertain.
    • 82 Metascore
    • 83 Rory O'Connor
    Afire
    Petzold’s latest, Afire, unfurls with all the page-turning seduction of a gripping novella.
    • 82 Metascore
    • 75 Rory O'Connor
    Vortex
    At 145 minutes, few locations, and very little dialogue, this unflinching look at the fate that awaits us is anything but expeditious—yet it demands to be seen, a radical film with as much capacity to shock as it does to burden the tear ducts. It is amongst his very best.
    • 82 Metascore
    • 91 Rory O'Connor
    Grand Tour
    It all comes together beautifully, a film to stimulate curious corners of the mind and adventurous parts of the spirit.
    • 82 Metascore
    • 83 Rory O'Connor
    Small Things Like These
    With notable patience, Mielants (who directed Murphy in six episodes of Peaky Blinders) allows the darkness to gradually seep in.
    • 82 Metascore
    • 91 Rory O'Connor
    Isle of Dogs
    One does not necessarily have to be fond of canines in order to love Isle of Dogs, but it helps. It may also help to have a fondness for the meticulous craft of stop-motion animation itself or, even more interestingly perhaps, for Japanese cinema. It is a delightful, exquisitely-detailed production.
    • 82 Metascore
    • 83 Rory O'Connor
    The Climb
    For better than worse, Covino directs it to within an inch of its life, presenting the modest narrative as a series of meticulously choreographed vignettes; each shot in what appears to be a single take.
    • 82 Metascore
    • 83 Rory O'Connor
    A Hero
    A Hero is perhaps a touch too sinuous and convoluted to be considered alongside his great early works, but it plays to his strengths and sensibilities—a clear return to form.
    • 82 Metascore
    • 100 Rory O'Connor
    John McEnroe: In the Realm of Perfection
    In The Realm of Perfection is in essence about that most slippery of topics: the beauty of the game. Sport might tell the truth, but perhaps only cinema can capture it.
    • 81 Metascore
    • 83 Rory O'Connor
    The Woman Who Ran
    Woman Who Ran looks and feels like a pleasant farce in comparison to much of Hong’s recent output.
    • 66 Metascore
    • 75 Rory O'Connor
    Luzifer
    Brunner’s doom-metal vibe isn’t always easy on the eye, and while images in Luzifer shiver with portent as early as the opening frames–all muck, rain, and knackered-looking bodies––there is a clarity from cinematographer Peter Flinckenberg that saves it from being too sullen.
    • 81 Metascore
    • 75 Rory O'Connor
    Arrival
    Denis Villeneuve ponders the ramifications and possibilities of a potential first-contact between human beings and an advanced alien race and comes up with a sporadically incoherent film, but also some interesting ideas.
    • 81 Metascore
    • 91 Rory O'Connor
    I Do Not Care If We Go Down in History as Barbarians
    Much like his beleaguered lead character, Jude manages to maintain a rousingly lewd sense of humor for the duration of the film’s substantial running time.
    • tbd Metascore
    • 100 Rory O'Connor
    DAU. Degeneration
    With all its sex and brutality, and the allegations surrounding its megalomaniacal creator, Khrzhanovsky’s project might not be for this world. However, it remains that rare thing: an artwork with the capacity to tap into our fears and even our hatred; to live in the imagination and to astonish. A shock of the new.
    • 81 Metascore
    • 83 Rory O'Connor
    Jackie
    This is remarkable stuff from a director on the cusp of the mainstream. You sense an American filmmaker might not have managed it.
    • 81 Metascore
    • 83 Rory O'Connor
    R.M.N.
    Its dizzying culmination of ideas proves more feature than bug.
    • 62 Metascore
    • 75 Rory O'Connor
    The King
    As indebted to the mood and visual language of Game of Thrones as it is to the Bard’s texts, Michôd provides finely worked entertainment with a compelling and significant central performance from Chalamet–who frankly hasn’t had to carry a film in quite this way before.
    • 79 Metascore
    • 83 Rory O'Connor
    Furiosa: A Mad Max Saga
    The concerns that met the trailer––suggesting Miller had traded in his predecessor’s practical effects for CGI––are, I’m sorry to say, not entirely unfounded. But Furiosa can still boast moments to take the breath away. Did we need it? Probably not. Are the chase scenes still phenomenal? Absolutely.
    • 81 Metascore
    • 83 Rory O'Connor
    A White, White Day
    As darkly comic as it is foreboding–and boasting an outrageously rich and nuanced central performance from the great Icelandic actor Ingvar Sigurdsson, who plays the larger than life Ingimunder, a man more than capable of living up to the scale of his own name–A White, White Day takes the tropes of a psychological thriller but presents them with a virtuosic and austere visual flare.
    • 81 Metascore
    • 83 Rory O'Connor
    Rimini
    Thomas’ Bravo, recalling both Mikey Saber and Mickey Rourke, has a protruding gut, slicked-back hair, an alcohol problem, and some deep-rooted mommy issues. The film is all his.
    • 81 Metascore
    • 91 Rory O'Connor
    Ray & Liz
    It’s an immersive poetic-realist dive into the artist’s fractured memories of his parents during the time he spent growing up in Birmingham in the ‘70s and ‘80s.
    • 80 Metascore
    • 75 Rory O'Connor
    Young Mothers
    The film is still recommended viewing; they still know how to draw a good performance and nail an emotional beat. All four of their young stars are given the opportunity here and duly rise to the occasion. In each sequence is the audience is left to consider questions with no easy answers; all it ultimately asks for is a little empathy.
    • 80 Metascore
    • 75 Rory O'Connor
    The Testament of Ann Lee
    For all its grandeur and dazzling tableaux, I left the theater a touch agnostic. Unwavering fanatics, no matter their rationale, do not always great protagonists make; even with Seyfried’s remarkable voice, presence, and energy, the music starts to skip.
    • 80 Metascore
    • 91 Rory O'Connor
    Good Time
    It is a remarkably vivid and fresh piece of filmmaking, one that builds on the directors’ previous outings without being overly familiar.
    • 80 Metascore
    • 100 Rory O'Connor
    The Mastermind
    With The Mastermind, Reichardt has made a unique film, even amongst similarly cryptic genre exercises. . . I left the cinema gripped and unusually rattled.
    • 80 Metascore
    • 67 Rory O'Connor
    Ad Astra
    Ad Astra is, for all other intents and purposes, as straight faced as they come, a film that considers the big questions of interplanetary travel and contact but signposts its conclusions too early–and can’t help getting bogged down by them.
    • 80 Metascore
    • 91 Rory O'Connor
    On the Beach at Night Alone
    On the Beach at Night Alone, a bittersweet tone poem from South Korean writer-director Hong Sang-soo, thinks many a thought about the universe and the future, mostly expressed through nature and the characters’ anxieties about growing old.
    • 80 Metascore
    • 100 Rory O'Connor
    American Honey
    It’s visually astonishing and often devastating, too. This might be the freshest film about young people in America since Larry Clark’s Kids.
    • 80 Metascore
    • 83 Rory O'Connor
    Monrovia, Indiana
    Wiseman is well known for his objectivity but another of his most enduring traits has been a dedication to showing audiences the hard, under-appreciated work that is constantly being done by small social organizations and local councils.
    • 80 Metascore
    • 75 Rory O'Connor
    The Meyerowitz Stories (New and Selected)
    Stiller and Sandler strike a warm and believably awkward brotherly connection, hitting some real on screen highs as they sit around the piano with Marvel singing Sandler’s catchy tunes.
    • 80 Metascore
    • 75 Rory O'Connor
    My Favourite Cake
    Moghaddam and Sanaeeha obviously have things to say about the state of their country, but at heart this is a romantic, even nostalgic film.
    • 80 Metascore
    • 67 Rory O'Connor
    Lean on Pete
    Lean on Pete is certainly not a film without qualities (credit to the supporting cast and Magnus Nordenhof Jønck’s cinematography in particular), but viewers might just feel the gnawing sense of a director losing his grip on the reins.
    • 80 Metascore
    • 75 Rory O'Connor
    Bergman Island
    Hansen-Løve’s cinema has reached higher ceilings than this, but it is a restorative sojourn just the same.
    • 80 Metascore
    • 83 Rory O'Connor
    All Is Well
    Trobisch’s screenplay hits all of the nightmarish beats you would expect it to ... but they never feel too forced or unearned.
    • 79 Metascore
    • 75 Rory O'Connor
    Wife of a Spy
    The protagonists of Wife of a Spy often act out of character, which all bodes efficiently well for the film’s slippery web of conceit, but ultimately quells a great deal of something the film is otherwise lacking in: feeling. It is, for my money, Kurosawa in low key; an interesting inclusion to a wonderfully idiosyncratic career.
    • 79 Metascore
    • 83 Rory O'Connor
    Small, Slow But Steady
    Perhaps the most impressive thing is Miyake’s refusal to succumb to the material’s mawkish pull—like its protagonist, Small, Slow But Steady is occasionally salty and only sparingly sweet.
    • 79 Metascore
    • 83 Rory O'Connor
    Ahed's Knee
    A blistering work of meta filmmaking.
    • 79 Metascore
    • 83 Rory O'Connor
    Loving
    Nichols has crafted a beautifully moving and tasteful document of a quietly groundbreaking event, told from a very human perspective.
    • 79 Metascore
    • 83 Rory O'Connor
    Petrov's Flu
    Playing out at breakneck speed, it is awash with flights of fancy: outbursts of sex and violence; aliens and murder; sepia-dripped nostalgia; jarring temporal and spatial uncertainty; homoeroticism; etc. That sense of dizziness is only further confounded by Vlad Ogai’s shifting sets and richly detailed production design, and cinematographer Vladislav Opelyants’ long roving takes. Its cast has the sense of a troupe. The frame is always packed.
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