In Im Sang-soo’s Heaven: To the Land of Happiness, the money its pair of protagonists happen upon, no matter how welcome, has a rapidly depreciating…
In some respects, My Small Land is a film about easily perceived material differences. Sarya (Lina Arashi) holds herself at a distance from others; she…
Andrew Infante’s Ferny & Luca is a first feature with a lot of places to get to. It briskly orbits around romantic ideas and images,…
Ahed’s Knee is an expressionistic work of subjective ruptures and discontinuities that attempts to give complete satisfaction to human reason. If Nadav Lapid is a provocateur,…
Huda’s Salon uses genre trappings as a pretext to gesture at loose connections to reality rather than meaningfully developing anything. The crucial difference between a…
Compartment No. 6 is a gentle, moving romance that understands the benefit of languor rather than compression in establishing human connection. Single lodgings in a two-seater…
From the outside, Peter Nicks’ documentaries follow in the path of Frederick Wiseman’s institutional portraits. Nicks’s first, second, and third films (The Waiting Room, The Force, Homeroom) correspond…
Thy Kingdom Come feels like what it is — deleted scenes from (and a misapprehension of) To the Wonder rather than a supplement to its beauty.…
The Power of the Dog gains considerable power in its back half, but Campion ultimately leaves too much simply twist in the wind. The narrative of…
At the risk of painting with too broad a brush, Sébastien Pilote’s traditional treatment of Louis Hemon’s Maria Chapdelaine is a headline for all the…
In recalibrating its source material, The Green Knight often proves compelling, but it doesn’t always convince as a fully liberated work. “I see legends,” Gawain (Dev…