An auteurist invention of the highest order, Matías Piñeiro’s ongoing “Shakespeare series” is the ideal platform to showcase the Argentinean director’s enticing and increasingly unique…
2017—so far at least—hasn’t been spectacular. In between the deaths of beloved auteurs like Jonathan Demme and Seijun Suzuki, you had 25 beating Lemonade at…
Recalling the softer screwballs of the 1930s—or, more specifically, modern imitations of those classics—This Is Not What I Expected is essentially You’ve Got Mail—except with the two…
China retrofit its communism with capitalism, so why shouldn’t it augment an Eternal Sunshine of the Spotless Mind-indebted premise with the procedural plot points of Minority Report?…
Starting out as a bit of meta-commentary on a notorious massacre, Anocha Suwichakornpong’s By the Time It Gets Dark quickly and deliberately questions its own point of…
Though Terence Davies was absent from the Vancouver International Film Festival in 2015, his Emily Dickinson film A Quiet Passion makes its appearance this year…
Alan Mak and Felix Chong, two-thirds of the team behind the very good Infernal Affairs series and the prime movers of the mediocre-at-best Overheard trilogy, team up again for Extraordinary Mission, a…
Give Nacho Vigalondo’s latest points for being consistently unpredictable: it’s a monster movie, in a sense, but the monsters turn out to be analogous for its…
“Everything disgusts me,” exclaims dying King Louis XIV (Jean-Pierre Léaud). The most disgusting thing present? The repulsive nature of aristocracy, laid out in full view…
“I hope we’ll have fun and party, that’s why I’m here!” This is what Lilly (Laure Calamy) tells an excited crowd of French retreaters in The…
Ala Eddine Slim’s The Last of Us is the type of film that’s inevitably described as “spare,” “rigorous,” and “conceptually bold.” Unfolding over a distended 94…
Alice Lowe’s character in Ben Wheatley’s Sightseers was named Tina; in her own directorial debut, Prevenge, she plays Ruth. Really, though, the different names don’t matter:…
If there’s one noticeable (and troubling) trend in this year’s ND/NF , it’s a pointless rigor exerted in an effort to appear more “serious.” Case in point, Zhang…
That advice may well be applied to Olivier Assayas’s slippery, sensual Personal Shopper, which does for horror what Irma Vep (still the high watermark of…
Eduardo Williams’s debut feature, The Human Surge, may well benefit from a second look, but it doesn’t incentivize one. That’s certainly not for lack of ambition: Structured…
Park Kwang-hyun’s Fabricated City seems at first to play its premise straight: Kwon Yoo (Ji Chan-wool) uses a popular MMO game to escape from the growing…
Duckweed is a Chinese Back to the Future with quite a bit of Capra in it. Celebrated novelist (and rally car driver) Han Han rebounds from 2014 road…
In the case of Alain Guiraudie’s relentlessly weird Staying Vertical, there may not be anything to do except surrender to the strangeness. The story follows…
Whether one enjoys Son of Joseph will depend on how well one takes to Eugene Green’s very particular style. Favoring declamatory acting, controlled framing and…
Jim Jarmusch’s career trajectory has afforded distinct perspectives on his work, especially as that relates to the idea of a monotonous kind of living. Paterson is…
Relationships fray without stated explanations in Pedro Almodóvar’s Julieta—but the settings reveal what information characters don’t. Julieta (Emma Suarez) receives startling news from a friend on…