In what is somehow 19-year-old filmmaker Alice Maio Mackay’s fifth feature, Carnage for Christmas, genres abound. Though a slasher makes up the bones of…
In his new film Being John Smith, premiering alongside Jean-Luc Godard’s for-real-this-time last two films in TIFF’s Wavelengths program, filmmaker John Smith starts with…
Over the course of three seasons, I Think You Should Leave has cemented Tim Robinson as a genuinely iconic comedic performer. With episodes under…
In the opening moments of Nightbitch, director Marielle Heller appears alongside her star Amy Adams, both playing frustrated mothers in a grocery store. Both…
The name most likely to catch the attention of cinephiles in the credits of Shahab Fotouhi’s first feature Boomerang is co-editor Aleksandre Koberidze, who…
Beatrice Gibson’s short film Leisure, Utopic is the first in a series of “loose adaptations” of Bernadette Mayer’s book-length poem, Utopia. The film features…
Lucy Kerr’s feature debut Family Portrait begins in media res, at the titular scene. There’s chaos, but initially the chaos is only visual. The…
Mixed media artist Zhou Tao’s new film, The Periphery of the Base, playing now at Cinéma du Réel and totalling just 53 minutes across…
Almost every program description or review of Alison O’Daniel’s first feature, The Tuba Thieves, including now this one, begins by noting that it is…
The staff of In Review Online have come to the collective decision to abide by the international call from Strike Germany. We will be…
In his new short film, Rainer Kohlberger proposes the titular electric kiss as an ultimate pleasure, a literal sum of the neural impulses that…
Pete Ohs’ amiably idiosyncratic new feature Love and Work is set in a future where jobs are illegal. It begins with Diane (Stephanie Hunt,…
Newly christened Director’s Fortnight General Delegate Julien Rejl has expressed a desire to highlight new voices with his first programmed slate — not just…
Berlinale’s Encounters section has largely been a platform for lesser known filmmakers since its inception, though it’s also seen its fair share of high…
Light Matter’s fourth 2023 program is titled “Blurred Lines.” Though lines literal and figurative blur within many of the constituent films, the title refers…
The faux-retro affect of Alexander Payne’s new Vietnam-era film, The Holdovers, could never be mistaken for something genuine. Regardless of how it’s meant to…
Argentinian filmmaker Eduardo Williams’ new film The Human Surge 3, which premiered this summer in competition at the Locarno Film Festival, is his first…
Blanket declarations about three-hour-plus runtimes always seem curious when filmmakers employ said length for wildly different purposes. Though the sweeping epic may be the…