Some of the most elegant and graceful tracking shots ever seen open Agnieszka Holland’s Spoor. They may be drone or helicopter-assisted; the camera, gravity-defying, soars over…
It’s nigh-impossible to discuss the new film In My Room, from Berlin School-affiliated writer/director Ulrich Köhler, without revealing that a third of the way in, seemingly…
It feels pointed that the segment in Long Day’s Journey Into Night’s checkered timeline that forms its romantic core is set in the year 2000, which…
At least for awhile, the new essay film by the pushing-90 French auteur Jean-Luc Godard plays like a liberally abridged version of his magnum opus, Histoire(s) du cinéma. The…
Before Jobe’z World establishes itself as a new, classic New York night movie, it’s already up in the cosmos: the refracted neon twinkle and burbling…
No one would likely suggest that the dialogue and interactions in Ted Fendt’s previous films (comprising three shorts and 2016’s 61-minute debut feature, Short Stay) were naturalistic, or…
“I should correct something if it’s wrong,” says Soo-jung (Lee Eun-ju), the titular virgin of 2000’s Virgin Stripped Bare by Her Bachelors, to her smothering…
Aaron Katz’s glossy, very surface-conscious mystery opens in high style with an upside-down shot of twilit palm trees, cool vaporwave beats easing the transition to…
“Meta” inadequately describes the interlacing literary and cinematic references, stories-within-stories, digressions, subplots and general convolution that comprises Arnaud Desplechin’s Ismael’s Ghosts, a dense and appealingly sloppy…
Allure, the first film by Carlos and Jason Sanchez (Montreal brothers with nearly identical fine art photographer CVs), spins a thrillery setup concerning a kidnapping, obsession, and…
Pivoting from the cerebral intensity of Queen of Earth — an Images, or Fassbinder, -like exteriorization of a woman’s mental breakdown — Alex Ross Perry’s latest is…
The 60 year-old Aki Kaurismäki has declared that his latest, The Other Side of Hope, will be his swan song. There’s cause to treat the excitable director’s…
Alain Gomis, a French director of Guinea-Bissauian and Senegalese descent, knows the value of a good face. This is why he fills so many of Félicité’s frames…
Slovakia-born Canadian director Ingrid Veninger’s Porcupine Lake is a sensitive, sun-dappled summer idyll (with dark undercurrents) on themes of coming of age, preteen-love-fumblings, and the inevitable realization…
The no-budget, dually high-concept premises of Jenna Bass’s High Fantasy: four South African twentysomethings (two women of color, a white woman, and a black man)…
Exciting, fascinating and mostly well-rounded, Peter Nicks’s The Force follows the Oakland Police Department (and by proxy, the citizens and city of Oakland) for two…
Sometime in the near future, Tess (Geena Davis) and her husband Jon (Tim Robbins) gift octogenarian widow Marjorie (Lois Smith) an A.I. hologram version of…
Nikkatsu is in the process of rolling out a new crop of “romantic pornography” (or Roman Porno) films—a throwback to their heyday in the 1970s…
Telling the “true” story of murderous, drug-addicted Triad heavy-turned-sober, prolific rehabilitater of young gangster-addicts Peter Chan Shun-chi, Lawrence Lau’s Dealer/Healer belongs to that most enervating…
The stateside media-consuming public’s seemingly insatiable appetite for standup comedy product (The Comedian, Showtime’s I’m Dying Up Here, infinite podcasts) is the target audience of The…
Zhang Lu’s chatty, relatively plotless A Quiet Dream, for the most part, non-judgmentally observes the interactions between bar-owner Han Ye-ri and her three regulars, film…