When will it end? On the strategies (and effectiveness) of the hard-knock stories in Nadine Labaki’s Capernaüm, Sergei Dvortsevoy’s Ayka, Matteo Garrone’s Dogman, and Vittorio De Sica’s Bicycle Thieves
It’s never just one thing: on David Robert Mitchell’s Under the Silver Lake, Lee Chang-dong’s Burning, Alice Rohrwacher’s Lazzaro felice, Gabriel Abrantes and Daniel Schmidt’s Diamantino, and more
