The year was 2005, and if it wasn’t a simpler time, the ways in which it was inane only felt obvious in hindsight. A majority…
In This Issue: FEATURES: Not the Other Way Around: Poor Things, From Novel to Screen by Theo Rollason Jafar Panahi’s Post-Arrest Filmography: Deliberating Defiance by Dhruv…
Dear Kaita Ablaze France had the Comte de Lautréamont, a young writer who embodied the Romantic spirit even more than the Romantics, and thrust an…
The spanning dramaturgy of an ensemble piece is often a precarious balancing act, determined by the intentions of a writer who seeks to utilize the…
The tragic history of the Nakba — the Israeli occupation — and the resulting diaspora have led to a distinctive voice among Palestinian experimental filmmakers.…
Like many films gunning to establish an immediately serious tone, Angga Dwimas Sasongko’s 13 Bombs begins with sobering news reports. One newscaster outlines Indonesia’s slow…
The syntactically redundant title of Tomonari Nishikawa’s latest film provides a subtle hint as to what the filmmaker is up to. If one watches the…
The interaction between documenting the act of filmmaking and the final film as a meaning-making document for the filmmaker, subject, and spectator is a staple…
France had the Comte de Lautréamont, a young writer who embodied the Romantic spirit even more than the Romantics, and thrust an entire generation’s literary…
The subject of the poets and poetry of Hong Kong is a natural for Ann Hui, always the most literarily inclined of the great directors…
Pablo Marín’s cinema can be deceptively simple and deceptively complex. Having worked exclusively on 8 and 16mm celluloid, the Argentinian filmmaker has gravitated, as with…
Although its title might suggest otherwise, the breakfast food most prominently employed as a metaphor in Scrambled, Leah McKendrick’s directorial debut, is not eggs, but…
In film scholar Gilberto Perez’s incredibly perceptive book on the ontology of cinema, The Material Ghost, the moving pictures are always, well, moving: between documentary…
The cinema of Matthew Vaughn could quite possibly be the most insufferable currently being financed by Hollywood. Say what you will about the MCU —…
There comes a time when you just can’t swallow the bitter pill of reality; you have to crush it up, mix it in with some…
More exasperating than the woebegone premise of Olivia West Lloyd’s feature debut is the experience of actually watching it all unfold. The film limps along,…
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 the…
Disco Boy, the debut feature film from Italian director Giacomo Abbruzzese, marks an interesting moment for arthouse cinema. Abbruzzese offers up an edgelord take on…
Following quickly after the opening credits to She is Conann — a rapid montage of freakish landscapes played to a hypnotic classical piece — director…
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 first,…
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 and…