by InRO Staff

Outside Noise Ted Fendt’s body of work is at least in part characterized by its very purposeful progression. His films are all dryly comedic character studies of some sort or another; his earliest works were short comedic sketches akin to those of Éric Rohmer…

OK, so things don’t really vanish anymore: even the most limited film release will (most likely, eventually) find its way onto some streaming service or into some DVD bargain bin assuming that those still exist by the time this sentence finishes. In other words,…

Drive My Car Ryusuke Hamaguchi has fast become one of the more dependable filmmaker’s regularly working the international festival circuit, ever since he broke big at Locarno in 2015 with the sprawling, ornately plotted Happy Hour. Cannes quickly cosigned him, selecting his 2018 picture…

Deception A long pursued passion project, Arnaud Desplechin’s latest picture adapts Philip Roth’s 1990 slippery, erotic novel, Deception, into cinematic form for the first time. The late Jewish-American writer’s work has defined the contemporary U.S. literature canon extensively, and yet, few have really figured…

Tyler, the Creator Let’s first address what Call Me If You Get Lost isn’t. It isn’t a mixtape — though the instant shouting from DJ Drama throughout might have you thinking otherwise — or even much of a concept album: while there’s certainly a…

Onoda, 10,000 Nights in the Jungle Every pronouncement that points to a Second Coming ruptures the human sense of linear temporal experience, pulling one out of the unending succession of days epitomized by Macbeth’s “Tomorrow and tomorrow and tomorrow” speech. In the Pacific War…

In Front of Your Face The films of Hong Sang-soo, ever so magical yet construed from the affairs of quotidian encounters, every minimal gesture compounding a maximal observation, have over the past two decades established through their associative textures a cinematic canon of sorts;…

France Bruno Dumont’s monumentally titled France takes the director’s search for spiritual transcendence amidst everyday violence into a new zone of satiric melodrama. Having taken a sledgehammer to one of the key national myths in his Jeannette/Jeanne diptych, including an iconoclastic takedown of Dreyer…

Japanese Breakfast For the last couple of years, big Internet music press has been hellbent on selling us this notion that indie rock is still the most vital mode of pop song-making around, a dominant force on yearly “Best Of” lists at various entrenched…

The Tsugua Diaries The Tsugua Diaries would be considered quite the swing for most any other director, but for Miguel Gomes, here partnered with documentarian and collaborator Maureen Fazendeiro, it’s a relatively low-key effort, a “romp” even for a director whose last outing was…