Killing for Love
Elizabeth Haysom plotted the cold-blooded slaughter of her parents in a notorious 1985 case. Composed of archival news footage, interviews with investigators and her German boyfriend accomplice, Jens Söring, Killing for Love explores the limits of justice and the power of a manipulative sociopath when emotions are aroused. Söring, serving a life sentence, admits: “I have destroyed my life ... I thought it was about love.” Did he take the rap for a murder he didn’t commit?
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Mohawk
The U.S. doesn’t look good in this movie set during the War of 1812. No rockets red glare here—just genocidal mayhem as a squad of Yanks pursues a British officer and his Native American companions through the woods of upstate New York. Director Ted Geoghegan (We Are Still Here) upends Hollywood frontier clichés and infuses this action picture with the supernatural. The demonic American commander is forced to confront some other demons in those woods.
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The Railway Children
Edith Nesbit’s classic English children’s novel has been adapted several times for stage and screen. The latest iteration (2016) was mounted before a live audience and a set of cameras. In a few instances, the cinema-theater hybrid falls short. This award-winning production by the York Theatre Royal works best when focused on the imaginatively arranged theatrical elements—its actors spread across a stage with sliding floor panels—and on the finely wrought performances by a multi-generational cast.
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So Bright is the View
A movie that doesn’t move seems odd, but So Bright is the View returns filmmaking to circa 1910 in long takes wherein people act and converse. Romanian directors Michaël and Joël Florescu also borrow a page from the neo-realists. Their protagonist is a young Jewish woman from Bucharest at a dead end in a country with few opportunities. Given the choice of emigrating to America or Israel, she finds that both seem overrated as promised lands.
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