Chinese cinema is now deep into its latest movement, its 8th Wave. But this moment is a conflicted one, as intensely contradictory as Chinese existence itself…
Relaxer sticks to a grim formalist gimmick that exhausts its visual ideas by about the halfway mark, leaving director Joel Potrykus to indulge in…
Khalik Allah’s new essayistic documentary Black Mother is a deeply moving work of humanistic empathy, intertwining the personal and the political into an aesthetic that…
The foggy shores of Australia’s Christmas Island become a crossroad for migrants of both the human and animal variety in Gabrielle Brady’s haunted and…
Knife + Heart was probably the oddest entry in Cannes’ main competition slate last year — a trendy, queer, pop cinema throwback that stood-out…
If nothing else, Gaspar Noe’s Climax suggests that, should someone ever decide to revive the Step Up franchise, Noe might be a name producers could…
Christian Petzold is one of our great contemporary dramatists, taking the building blocks of melodrama and draining them of artificiality; he’s a kind of…
Acclaimed film critic and programmer Kent Jones follows up 2015 documentary Hitchcock/Truffaut with his first fiction film as writer/director, yielding decidedly uneven results. Diane is a…
As one of the only Iranian films with traction and visibility on the international festival circuit, Jafar Panahi’s Three Faces has much to prove.…
Shot on gorgeous 35mm, and in director Laszlo Nemes’s preferred close-up style (ported in from his debut feature, Son of Saul), and employing what…