If José Luis Guerín’s In the City of Sylvia (2007) were reconceived as a contemporary gay drama, its opening might look something like the first minutes of Lucio Castro’s ND/NF 2019 entry End of the Century. Following a handsome fortyish man named Ocho (Juan…
What You Gonna Do When the World’s on Fire? is a documentary with an almost confounding resolve to simply document. Given the subject matter — the intertwined lives of four different groups of African-Americans living in the deep South during the summer of 2017…
There’s been an interesting spate of feminist, or at least female-led, westerns recently; there’s Tommy Lee Jones’s The Homesman, a dark film that suggests the only rational response to being a woman on the frontier is to go insane. There’s Kelly Reichardt’s masterpiece Meek’s Cutoff,…
It shouldn’t surprise that a documentary tackling China’s population-curbing one-child policy, effectuated in the late 1970s and lasting until 2015, provides innately dramatic material, but One Child Nation is nonetheless frequently jolting in the particular avenues it navigates. Co-directed by Nanfu Wang and Jialing…
A religious drama set among the Pentecostal snake handlers of Appalachia, there are any number of paths that Them That Follow could have taken to deliver a compelling film. An insider’s look at a culture rarely seen by the average moviegoer? A probing examination…
Serbian director Ognjen Glavonic’s The Load is so minimal and austere that its title – nominally referring to the cargo carried in the truck driven by its protagonist, Vlada (Leon Lucev) – immediately takes on metaphorical meaning. The film’s basic setup — illicit material…
More sentient discourse than credible drama, Julius Onah’s Luce frankensteins together a collection of button-pushers: issues of race, class, privilege, elitism, tokenism, essentialism, free will, mental health, radical ideologies, sexual assault, social media’s distortions, police brutality, and on and on. One could charitably call…
Argentine director Mariano Llinás’s La Flor is a project ten years in the making, and an ode to the sort of movies that filmmakers once made the world over, “with their eyes closed” — to quote Llinás himself, who introduces his film in its…
So what exactly ‘begins’ in Philippe Lesage’s Genesis? That’s a question that’s almost too deceptively simple to answer: love, of course (the film’s poster even presents its principle characters, Noée Abita’s Charlotte and Theodore Pellerin’s Guillaume, in the shape of an ‘L’), though unsurprisingly,…
Nobody knows bland, affluent white people quite like writer-director Bart Freundlich, a filmmaker who has made a career out of chronicling the interior struggles of the Haves and the Haves. From his debut feature, 1997’s The Myth of Fingerprints, all the way through 2016’s…
