Diego Semerene

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For 184 reviews, this critic has graded:
  • 40% higher than the average critic
  • 1% same as the average critic
  • 59% lower than the average critic
On average, this critic grades 10 points lower than other critics. (0-100 point scale)

Diego Semerene's Scores

  • Movies
  • TV
Average review score: 52
Highest review score: 100 Paraguay Remembered
Lowest review score: 0 Snowmen
Score distribution:
  1. Positive: 86 out of 184
  2. Negative: 73 out of 184
184 movie reviews
    • 89 Metascore
    • 100 Diego Semerene
    This is a film that isn’t afraid to inhabit the maddening ambivalence of pleasure, recognizing that desire simply doesn’t recognize good manners.
    • 81 Metascore
    • 100 Diego Semerene
    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.
    • 74 Metascore
    • 100 Diego Semerene
    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.
    • 82 Metascore
    • 100 Diego Semerene
    Alain Guiraudie's film portrays cruising as a danger-seeking and astoundingly repetitive affair, intimately linked to death itself.
    • tbd Metascore
    • 100 Diego Semerene
    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
    Keith Fulton and Louis Pepe's documentary raises important questions about the limits of pedagogy.
    • 68 Metascore
    • 88 Diego Semerene
    Cinema hasn't been this close to the dusty cogs of desire's machinery and unapologetic about pleasure since Pasolini.
    • 73 Metascore
    • 88 Diego Semerene
    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
    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.
    • 65 Metascore
    • 88 Diego Semerene
    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
    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
    Cruising for Alain Guiraudie seems to be the way of nature, a drive that doesn't discriminate.
    • 64 Metascore
    • 88 Diego Semerene
    Filmmakers Laura Amelia Guzmán and Israel Cárdenas have crafted a beautiful tale of alienation, solitude, and existential anxiety.
    • 57 Metascore
    • 88 Diego Semerene
    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.
    • 74 Metascore
    • 88 Diego Semerene
    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.
    • 59 Metascore
    • 88 Diego Semerene
    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
    The film renders visible a very complicated, and awfully repressed, truth not only about gay desire, but desire in general.
    • 76 Metascore
    • 88 Diego Semerene
    Mitra Farahani rescues the doc from becoming a talking-head fest by embracing her creative self as a character and exposing the travails of her own authorship process.
    • 62 Metascore
    • 88 Diego Semerene
    Bleakness, Arturo Ripstein's film implies, demands different kinds of labor from a man than from a woman.
    • 78 Metascore
    • 88 Diego Semerene
    The pleasure in watching the film becomes a linguistic one as Juliette Binoche and Kristen Stewart masterfully sharpen their words and hurl them at each other like projectiles out of a blowpipe.
    • 71 Metascore
    • 88 Diego Semerene
    Elite Squad: The Enemy Within is pure pedagogic bliss.
    • 69 Metascore
    • 88 Diego Semerene
    The film captures Vreeland's perhaps unwitting philosophical integrity just as much as it drowns us in the exuberance of her work.
    • 58 Metascore
    • 88 Diego Semerene
    The film unapologetically warns us at every turn that fashion is nothing but a business, fueled by naiveté and rape.
    • 72 Metascore
    • 88 Diego Semerene
    We experience the delay of the fantasy of the happy old couple in their country home in cinematic time as, for most of the film, the only body these lovers have is the spellbinding combination of visual fragments serving as apparitions to their voices.
    • 65 Metascore
    • 88 Diego Semerene
    It ever so subtly zeros in on the extreme particularities of a remote place to find something universal, or at the very least easily comprehensible about despair.
    • 83 Metascore
    • 88 Diego Semerene
    André Téchiné does justice to the closeness between repulsion and desire, difference and sameness, heterosexuality and homosexuality.
    • 71 Metascore
    • 88 Diego Semerene
    Slavoj Žižek manages to explain some of Lacanian psychoanalysis's most inscrutable notions with disarming clarity and infectious urgency.
    • 65 Metascore
    • 88 Diego Semerene
    Cristián Jiménez's film knows how entangled the will to know is with the will to make love.
    • 70 Metascore
    • 75 Diego Semerene
    Throughout the documentary, the question of truth is equated to the essence of the tango.
    • tbd Metascore
    • 75 Diego Semerene
    Caetano Gotardo's triptych of short tales features a sense of experimentation and poetic license mostly seen in European cinema.

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