Do we still need the album? That question — elicited by the advent of streaming music platforms and the musicians’ newfound ability to self-publish songs…
With Passages, American indie filmmaker Ira Sachs builds on the not-unexpected Euro-arthouse move he made with 2019’s underwhelming Cannes competition swing Frankie, which threw a…
“Only Minnelli believes implicitly in the power of his camera to transform trash into art, and corn into caviar. Minnelli believes more in beauty than…
Premiering in the Berlinale’s Forum section, Claire Simon’s documentary Our Body follows her 2021 docudrama I Want to Talk About Duras. The title of that…
Across diverse forms of media, artists have devised various modes of depicting oppression. Watching Clement Virgo’s stirring feature Brother, it’s the smallness of the characters…
Where the Devil Roams It’s difficult to parse the project of Toby Poser, John Adams, and Zelda Adams without relating it to the larger film…
The latest in Anno Hideaki’s reimagining of classic Japanese tokusatsu stories, following Shin Godzilla, Shin Ultraman, and — depending on how you look at it…
Steve J. Adams and Sean Horlor’s terrific new documentary, Satan Wants You, focuses primarily on Michelle Remembers (1980), a nominally “nonfiction” book co-written by Michelle…
The cold open of Yugo Sakamoto’s Baby Assassins sequel — called Baby Assassins 2 in boring press materials, while its title card uses the charmingly…
Cannily scheduled to be released only a few weeks after Oppenheimer, documentarian Steve James’ (Hoop Dreams) A Compassionate Spy positions itself as a fitting companion…
Released back in 2015, filmmaker Bill Pohlad’s Love & Mercy was a bisected biopic of the brilliant but tormented musician Brian Wilson, whose preternatural gifts…
The career of Romanian director Paul Negoescu has not been easy to pin down. His debut feature, A Month in Thailand (2012), was a remarkable,…
We admit it, we’re gluttons for guts, gore, and genre. An antidote to the flattened, self-serious, and artistically anonymous titles that occupy coveted festival slots…
A decade ago, a baffling headline made waves throughout social media and film forums: director Steven Soderbergh, relatively young, announced his retirement. It was difficult…
Experience really can make all the difference: Samuel Fuller’s films could only have come from a real-life war veteran, and Bull Durham could only have…
Sympathy for the Devil rehearses a familiar thriller conceit that is unsurprising from the outset. It opens with the affable everyman protagonist, the Driver (Joel…
No doubt this has been said elsewhere already, but the most effective horror traffics in an unreality that’s very much tethered to our real world.…
Clocking in at a breezy 73 minutes, Kokomo City — which bagged audience awards at both the Sundance and Berlin film festivals — proves a…
Writer-director-indie provocateur Neil LaBute strikes again with Fear the Night, the filmmaker’s third feature in less than 12 months. This sudden ubiquity is either a…
Non-fiction scenarios and non-professional actors are often characterized as so rich and unpredictable that all a director needs to be is a receiver for what…
The past decade suggests an encroaching — or, perhaps at this point, arrived — renaissance in Indigenous art. Regardless of the medium, native voices are…