Summer Game Fest was stacked with announcements and reveals, but as Phantom Blade Zero brought things to an end as the final game showcased at the event, it made sense for it to be chosen as the show-stopper. Revealed at PlayStation Showcase last year, the upcoming S-game title stole the show back then as well, and now that the short but sweet gameplay footage has been shared, it looks better than ever.
Being a Soulslike title, it’s inevitable that it may share some similarities with others that came before in the genre, and like most pieces of art, Phantom Blade Zero takes inspiration from multiple beloved games.
Phantom Blade Zero Follows in the Footsteps of Multiple Soulslike Titles
Phantom Blade Zero seems to be borrowing the best bits of various Soulslike games.
Considering how FromSoftware is the creator of the Soulslike genre, it really isn’t a surprise that...
Being a Soulslike title, it’s inevitable that it may share some similarities with others that came before in the genre, and like most pieces of art, Phantom Blade Zero takes inspiration from multiple beloved games.
Phantom Blade Zero Follows in the Footsteps of Multiple Soulslike Titles
Phantom Blade Zero seems to be borrowing the best bits of various Soulslike games.
Considering how FromSoftware is the creator of the Soulslike genre, it really isn’t a surprise that...
- 6/11/2024
- by Osama Farooq
- FandomWire
The Mauritanian master Aberrahmane Sissako reached glory with his previous feature, the foreign-language Oscar-nominated “Timbuktu” (2014). It was a harrowing, beautiful and potent film that hit the soft spot in combining the no-nonsense panoramic overview of the Islamist occupation of the titular city and the humaneness of the resistance to it. Ten years later, Sissako is, once again re-united with his co-screenwriter Kessen Tall, back on the festival circuit with his attempt at the globe-trotting cinema called “Black Tea”. It premiered at the competition of Berlinale and continued its tour at the Belgrade International Film Festival – Fest.
Black Tea screened at Berlin International Film Festival
Sissako opens his film with a sequence set, but not actually elaborated in any way, at a mass wedding ceremony in Abijan, the capital of Ivory Coast. Like other brides, Aya (Nina Melo) is excited, but when her time comes to say the magic words, she makes a monologue,...
Black Tea screened at Berlin International Film Festival
Sissako opens his film with a sequence set, but not actually elaborated in any way, at a mass wedding ceremony in Abijan, the capital of Ivory Coast. Like other brides, Aya (Nina Melo) is excited, but when her time comes to say the magic words, she makes a monologue,...
- 3/16/2024
- by Marko Stojiljković
- AsianMoviePulse
Tea can be an energizer or a sedative. “Black Tea,” the first film in a decade from veteran Mauritanian auteur Abderrahmane Sissako, sips exclusively from the latter end of the shelf, passing through chamomile-type calm into outright soporific territory. And if that seems a trite metaphor related to the beverage, this tepid Berlinale competition entry has plenty more of its own: A love story between a Chinese tea-shop owner and an Ivory Coast émigré that is rooted in the rituals of brewing and consuming the blessed leaves, the film aims for woozy sensualism but falls way short on the ambient richness and X-factor chemistry required to sell such an essentially confected exercise.
It’s altogether a mystifying misstep from Sissako, typically a filmmaker of such formal and political vigor; by its close, the ten years separating “Black Tea” from 2014’s beautiful, shattering “Timbuktu” feel closer to an eon. Though this...
It’s altogether a mystifying misstep from Sissako, typically a filmmaker of such formal and political vigor; by its close, the ten years separating “Black Tea” from 2014’s beautiful, shattering “Timbuktu” feel closer to an eon. Though this...
- 2/21/2024
- by Guy Lodge
- Variety Film + TV
It’s been 10 years since Mauritanian–Malian director Abderrahmane Sissako last directed a film, but his much-anticipated return is suffused with a lightness that belies the long wait. A soft-focus romantic drama that channels some of the same humanism that steeped its way into “Timbuktu,” “Black Tea” finds Sissako applying his empathetic gaze towards the service of a much gentler vision.
It starts with a prologue of sorts set on the Ivory Coast. Aya (Nina Mélo), an Ivorian woman in her thirties, is about to get married but has just discovered that her future husband has been unfaithful. In a memorable opening image, a black insect walks through the folds of her white dress — an ominous fly in the ointment — as she waits for the nuptials to begin, her face twisting with uncertainty. At the altar, she astonishes her family by refusing to say “I do,” choosing instead to walk...
It starts with a prologue of sorts set on the Ivory Coast. Aya (Nina Mélo), an Ivorian woman in her thirties, is about to get married but has just discovered that her future husband has been unfaithful. In a memorable opening image, a black insect walks through the folds of her white dress — an ominous fly in the ointment — as she waits for the nuptials to begin, her face twisting with uncertainty. At the altar, she astonishes her family by refusing to say “I do,” choosing instead to walk...
- 2/21/2024
- by Rachel Pronger
- Indiewire
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