Cinematography has no boundaries. On the one hand, this is correct and indisputable. Any film, no matter in what country it was filmed and people of what nationality, religion, and skin color participate in it,
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Léolo (Review)
For a short period after my first viewing of the 1992 film Léolo, the final feature from Montreal director Jean-Claude Lauzon, my impressions were left in what I can only describe as a temporary state
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