Vacation in Malia on the Greek island of Crete, a British tourist hub that might as well be hedonism incarnate, doesn’t end well for…
Disco Boy, the debut feature film from Italian director Giacomo Abbruzzese, marks an interesting moment for arthouse cinema. Abbruzzese offers up an edgelord take…
Following quickly after the opening credits to She is Conann — a rapid montage of freakish landscapes played to a hypnotic classical piece —…
Molly McGlynn’s sophomore feature, Fitting In explicitly reveals its core conceit from the very beginning, opening with two quotes on a symbolically pink-colored background: the…
Director and co-writer Alex Schaad has made a bold gamble with his new film Skin Deep, taking what is essentially an ‘80s-style body-swap premise…
Head South For as long as the cinematic form has existed, it has embraced nostalgia, that cultural drug which oversees virtually every socio-political framework…
Imagine Atom Egoyan’s The Sweet Hereafter — a devastating, years-long descent of a small town in the aftermath of a communal tragedy that traces…
For the past several years, Leonardo Pirondi has created a fascinating body of experimental works that play with fictional documentary frameworks to produce complex…
Antoinetta Angelidi’s filmography is composed of five films across five decades, stretching back to Idées Fixes/Dies Irae in 1977. Over the subsequent half century,…
In his new short film, Rainer Kohlberger proposes the titular electric kiss as an ultimate pleasure, a literal sum of the neural impulses that…
The recent construction of the $217 million Ram Mandir in Ayodhya, confirmed by Hindu mythology as Shri Ram’s birthplace in India, and the ruling…
For as long as the cinematic form has existed, it has embraced nostalgia, that cultural drug which oversees virtually every socio-political framework known to…
The rare Shinya Tsukamoto film to not star the director himself, Shadow of Fire is his third consecutive period piece, following Fires on the…
In its early narrative, Simone Scafidi’s Dario Argento Panico introduces its eponymous subject, now in his 80s, as a sort of mythologized figure —…
The virtues of Danish director Nikolaj Arcel’s new feature, The Promised Land, are those of old-school Hollywood studio pictures. The film is scrupulously well-constructed…
As a Latinx intersex sex worker, Ponyboi (River Gallo) is well-versed in the indignity of precarity: a simple exchange with a pharmacist, for instance,…
In his books Cinema 1 and Cinema 2, Gilles Deleuze draws a distinction between the movement-image and the time-image. The movement-image is concerned with…
Fabio D’Orta’s The Complex Forms opens with a long pan over a burning car, set to an audacious classical piece, that slowly flips 180…