It’s early autumn in Yerevan and Paul Schrader is reminiscing. Four short years since the incredible success of “First Reformed,” the director returned to Venice this year with “The Card Counter,” another of his signature “man in a room” character studies and, yes, another triumph.
All that talk of a renaissance has not been lost on him: “Do you know who Pierre Rissient was?” the director growls, in that gravelly way, “He died about a year ago, big French critic, big guy at Cannes.
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