Hong Kong auteur Soi Cheang is a modern B-movie master whose works have dipped into an assortment of subgenres. Cheang’s aesthetic language is in…
Do Not Expect Too Much From the End of the World To the uninitiated, written descriptions of Radu Jude’s cinema might give the wrong…
Before the age of BookTok commenced, which both invigorated the eternally dying publishing industry and perhaps brought about the death of literature by pushing…
A trio of octogenarians have a close encounter of the third kind in Jules, director Marc Turtletaub’s high-concept dramedy that is, strangely enough, not…
In Emmanuel Carrère’s Between Two Worlds, Juliette Binoche’s character, Marianne, is introduced as a credibly depressing symptom of the global economy. In her fifties…
Since I was a boy, gaunt and ghoulish, raised on the children’s renditions of Edgar Allan Poe and those silly Goosebumps books, I’ve been…
Early on in What Comes Around, Amy Redford’s sophomore feature (coming after a 15-year hiatus), it becomes clear that logic will be an absent…
For centuries, humanity has found ways to outsource certain aspects of childbirth, but these advances were mostly limited to wet nurses, surrogate pregnancies, and,…
The directorial duo of Tizza Covi and Rainer Frimmel have been regulars on the festival circuit for the better part of twenty years, but…
Red Rooms In 2002, Olivier Assayas’ Demonlover premiered in competition at the Cannes Film Festival to a storm of controversy, eclipsed — for better…
One or two festivals ago, who can remember which — this time of year they all blend together — this critic wrote about Nomad,…
Randall Park’s directorial debut, Shortcomings, is sure to draw immediate comparisons to Crazy Rich Asians, a film that made $238 million and was praised…
MONDAYS Anyone who has ever worked a 9-5 office job has likely felt stuck performing the same meaningless tasks day after day. The only…
No film festival would be complete without a road movie. For the 2023 edition of Japan Cuts, the U.S. premiere of Under the Turquoise…
Earlier in 2023, this writer vacationed in Montreal and saw Eckhart Schmidt’s The Fan (1982) at the Cinéma Moderne, going in completely blind and…
Repentance is good. At least, it is under certain conditions: it must be clear, sincere, and selfless. Most importantly, while it is always good…
Anyone who has ever worked a 9-5 office job has likely felt stuck performing the same meaningless tasks day after day. The only possibility…
Do we still need the album? That question — elicited by the advent of streaming music platforms and the musicians’ newfound ability to self-publish…