If Peter Farrelly acquired any auteurist pretensions after undeservedly winning the Oscar for Best Picture with his insincere race-relations road movie Green Book (2018), he…
To watch a Pete Ohs film is to watch a film unspool right before your eyes. While that may sound obvious — all movies play…
Frédéric Da wants to make it known that his new social drama, isaiah’s phone, is a work of complete fiction. This despite the film’s unsettling…
Purists will surely find something to cavil at in Aneil Karia’s latest spin on William Shakespeare’s greatest and longest play, Hamlet, as is so often…
Existing at the nexus of fashion, popular music, and horror, David Lowery’s Mother Mary, a multi-genre whatsit, proudly wears its pretentiousness on its (couture) sleeve.…
Sophy Romvari has used cinema to mine the fractured, seemingly incomplete nature of her family history since her first short film, Nine Behind. In that…
Few filmmakers have the benefit of having real, honest-to-goodness hype around their debut feature. Many of our best talents come out of nowhere with very…
It wasn’t too surprising to watch Bob Odenkirk transition from a comedian to a sturdy dramatic actor; that kind of thing happens all the time.…
The Part-Time shorts program, in collaboration with Now Instant Image Hall, was presented at the Los Angeles Festival of Movies in two blocks. The first…
Ben Wheatley has done it all. From humble beginnings with killer indies like Down Terrace and Kill List to Hollywood mega-productions like Rebecca and The…
After it was reported that MUBI had received a $100 million investment from venture capitalists with ties to an Israeli defense tech firm in May…
“The working man is a sucker” — so reads the opening title card of Joel Alfonso Vargas’ debut feature, Mad Bills to Pay (or Destiny,…
In my day job as a college writing instructor, there is a lot of talk about “multi-modal composition.” This simply means that instead of remaining…
Josh Heap’s City Wide Fever is the best kind of micro-budget, DIY indie film, one that doesn’t attempt to hide its poverty of means but leans into…
Excepting the newly bicurious and the chronically polyamorous, most people will adore Erupcja for the wrong reasons. Pete Ohs’ sixth narrative feature has, on the…
“What are the stats on shark movies? Still just the one good one?” That’s a direct quote from perennial funnyman Paul F. Tompkins, made during…
In this dispatch: Leviticus, Kika, Strange…
Much digital ink has been spilled over whether now, more than ever, we need positive queer images in popular media. As the world skids further…
Clemente Castor’s Cold Metal is a difficult film to wrap one’s head around. It’s a small-scale, profoundly opaque object that rejects traditional narrative in favor…
Social realism is alive and well and living in Belgium — but you knew that already, given that it’s the Dardennes’ home court. It may…
If, with Call Me By Your Name, Luca Guadagnino set a 21st century standard for leisurely, sun-dappled, queer coming-of-age films, then, nearly a decade later,…