Fabian bears perhaps a thin thesis, but Graf remains a sly evangelist for and director of the dignity of disorder. Early on in Fabian: Going…
After Asako I & II, Hamaguchi’s latest can’t help but feel like something of a step backward into less aesthetically daring filmmaking. “Once Again”, the third…
Slow Machine introduces a directing duo happy to noodle and experiment with various modes, but who aren’t yet refined or cogent enough in purpose. Jacques…
Unlike Puiu’s similarly-shaped Sieranevada, Malmkrog is all empty abstraction, mistaking prattle for praxis. “For a talking cinema”: that’s the title that a young Maurice Scherer, not yet christened…
To the Ends of the Earth is a masterwork of adventurous, boundary-less filmmaking. Kiyoshi Kurosawa has been here before. Not to Uzbekistan, where his newest film…
Sibyl is a film that feels richer at the margins than at the center, largely by design and to its credit. Victoria, Justine Triet’s last film, opens…
I think it’s safe to say that Nobuhiko Obayashi no longer requires an introduction. For that we owe the Japan Cuts team a debt of…
Tsai Ming-liang and Lee Kang-sheng have one of the strangest relationships in movies. For dedicated Tsai (and Lee) fans, that goes almost without saying. From…
In 2013, around the time that Stray Dogs had its world premiere at the Venice Film Festival, Tsai Ming-liang announced his retirement from filmmaking. In…
The instinct to gather ’round a fire and share stories is as ancient as human urges get. The impulse to make movies in which the…
Elia Suleiman: actor, director, “citizen of the world.” It Must Be Heaven follows Suleiman as he journeys from his native Palestine to Paris, and then to New…
Set in the Osaka slum of the title, The Kamagasaki Cauldron War’s very existence testifies to its politics: it defies a local ordinance that deems…