Dancing Queen, the third theatrical feature by Aurora Gossé, who has already made a handful of domestic Norwegian TV series and shorts, boasts a…
It’s arguably a Sisyphean task to adapt Henry James’ late work to the screen, and in particular his 1903 novella The Beast in the…
In This Issue: FILM REVIEWS: in water (Hong Sang-soo) by Ryan Swen // Afire (Christian Petzold) by Ryan Akler-Bishop // Music (Angela Shanelac) by…
Writer-director Christopher Landon has made a career out of taking some of the most tired and shopworn genre plots imaginable and infusing them with…
A pop star has to store a number of secret weapons in her utility belt. Lots of people can sing and dance, but what…
Very loosely inspired by a colorful real-life incident that sadly didn’t end well for the animal in question, Cocaine Bear is a period horror-comedy…
In This Issue: FEATURES: Berlin International Film Festival: Samsara (Lois Patiño) by Ryan Akler-Bishop // Inside (Vasilis Katsoupis) by Ryan Akler-Bishop // Bad Living…
It’s been ten years since Kelela’s debut mixtape, Cut 4 Me, earned rave reviews She’s since produced a semi-regular output, with her first proper…
In Starboard Wine, Samuel Delany proposes that “we need images of tomorrow, and our people need them more than most.” Queer life, as it…
“Art is for keeps,” the protagonist of Vasilis Katsoupis’ Inside proclaims, just shortly before finding himself condemned to an art-laden torture chamber. Played by…
If the camera produces an impression of a visualizable and material reality, how can the apparatus of cinema stand in for an abstract and…
Premiering in Berlinale Forum, a space reserved for “test[ing] the boundaries of convention,” Yoo Heong-jun’s Regardless of Us will inevitably elicit comparisons with the…
Images fade in and out, they flicker and repeat as metallic crashing and analog distortion echo from a distance. Lei Lei’s fragmentary short, That…
In João Canijo’s Berlinale competition film Bad Living, long shots are composed so precisely that their motivations frequently don’t become clear for minutes —…
In This Issue: FEATURES: A Synthesis of Different Ideas: An Interview with Lois Patiño by Ryan Akler-Bishop FILM REVIEWS: Mad Fate (Soi Cheang) by…
Lois Patiño began his career making landscape films—a cycle of shorts that reframe the relationship between geographic space and spectatorship. Over the past decade,…
Since moving from 16mm to digital nearly fifteen years ago, James Benning’s films have become more and more stringent, foregoing surface incident in favor…
Subtlety isn’t Singaporean cinema’s strong suit, as year after year of mainstream slop, indie darlings, and enfant terrible flops (having largely been banned back…