The Palace At first glance, the Gstaad Palace looks like the last vestige of European aristocracy. The town of Gstaad, Switzerland itself catered only…
The titular expression of Chong Keat Aun’s sophomore feature, Snow in Midsummer, has a political signification beyond its outwardly meteorological imagery. In Guan Hanqing’s…
Víctor Iriarte’s Foremost by Night has more reputation behind it than its status as a first fiction feature would suggest. Alongside Iriarte’s resume, which…
In modernist art cinema, there has been a minor tradition of self-portrait films, and naturally they have been as different from one another as…
2023 will surely go down in history as the year Ogawa An owned the international festival circuit. Okay, maybe not really, but Following the…
There are a few different films all struggling for screen time in Noah Collier & Emily MacKenzie’s new documentary Carpet Cowboys, including a treatise…
Like a political cartoon stretched out to feature length and shot like a German Expressionist film, Pablo Larraín’s El Conde possesses one of the…
Though they lived a millennium and a half apart, Aristotle and Dante Alighieri shared a conception of love that gave rise to most of…
An indie horror film about a young woman trying to keep her inner beast at bay, it’s a testament to Jacqueline Castel’s My Animal…
Youssef Chebbi’s horror-tinged police procedural Ashkal (being released in the States officially as Ashkal: The Tunisian Investigation) begins with a brief explanation of The Gardens of…
According to certain cinephilic thinking — specifically arguments that come from those who worship at the altars of Michael Mann and Tony Scott —…
In a rather brazen move, the third title card in the end credits of new horror flick Don’t Look Away reads as a dedication…
In Johnny Guitar, Nicholas Ray’s phantasmagorical 1954 Western, it takes fewer than two minutes for a deafening explosion of dynamite to ring out. The…
Mother Lode straddles a few different lines in its depiction of the grueling lives of gold miners in the mountains of Peru. For all…
David Depesseville’s debut feature, Astrakan, is a film that is at once deeply humanist and utterly pitiless. Essentially a character study, the film depicts…
Ellie Foumbi’s Our Father, the Devil takes the broad, familiar strokes of the revenge drama and fashions them into something altogether more tragic. The…
Jennifer Reeder’s new film Perpetrator has received some very strong reviews at Berlinale, and to be honest, it takes a while to figure out…
Far too many movies demand far too little from viewers. Maybe they aren’t asking the right questions, or perhaps the questions themselves are just…