Review of Fremont (2023) by Anthony Lane for The New Yorker — 18 Aug 2023
The movie, photographed by Laura Valladao, is in black-and-white; add the deadpan dialogue and you may be reminded of, say, early Jim Jarmusch. But there’s not a smack of hipness here, and Jalali is not on a quest for cool.
Rather, the story is suffused with an uncommon blend of radiance and resignation, nowhere more rapturously than in the final shot.
You can read the full review where it was originally posted online.
This review of Fremont (2023) was written by Anthony Lane and published by The New Yorker on 18 Aug 2023.
Fremont has generally received positive reviews.
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