Michael Snow’s Wavelength still stands as the prototypical “experimental film” — perhaps the one experimental work that film studies professors will continue selecting as a stand-in for the miscellany…
Heinz Emigholz opens his latest, Slaughterhouses of Modernity, with a voice. This would have normally been shocking as Emigholz’s austere “Photography and Beyond” series of…
Blonde is visually striking and demonstrates a clear aesthetic character, but Dominik’s insistence on the dogma of his limited themes keeps it from becoming either a…
Clerks III is a fans-only venture that’s sunk by a childishness devoid of wonder and poignant moments consistently undermined by self-mockery. In Arthur Penn’s 1967 Bonnie…
Super Hero is an impressive step forward in animation for the franchise, even as its constant winking can sometimes come off as an insecure plea for…
Alex’s War is both more and less interesting than knee-jerk reactions would have it, but director Moyer undoubtedly understands that a fascinating subject is the…
In the summer of the Year without a Summer, Mary Shelley wrote Frankenstein. She, her husband Percy, Lord Byron, and Byron’s physician John Polidori —…
What would it look like to adapt The Communist Manifesto to film? Thomas Paine’s Common Sense? Industrial Society and Its Future? These texts have no main characters to follow,…
On September 27, 2014, the CW Network cut animation out of their Saturday morning bloc. They were the last network to do so. It was…
Antonio di Benedetto’s novel, Zama, is renowned for its simplicity, with most paragraphs a mere sentence in length; Lucrecia Martel’s film adaptation is full of detail. Where…
Hong Sang-soo‘s first black-and-white film since 2011’s The Day He Arrives (which is indeed quite a while, considering the rate at which he works), The…
Ben Russell, previously known for travelogues and semi-ethnographic hallucinatory trips, plays his latest feature straight: Good Luck is a good deal longer than most of his previous films, but…
The name of Dotham, Alabama comes from Genesis and 2 Kings: The Dothan of the Bible is where Elisha sees his vision of flaming chariots, conjured…
The American Western — usually identified by its action, machismo, and its oftentimes flimsy portrayal of Native American genocide — has also always dealt with borders. The Mormons…
Philippe Garrel’s career has certainly taken an odd turn. The director, who first made waves in the experimental Zanzibar Group after Mai ’68, now sits…
Despite its 2012 release, Bad Film captures a Sion Sono before he reached international acclaim; before his particular brand of otaku-influenced action films; and before his…
The most bluntly political of Japanese filmmakers, Masao Adachi returns to a comfortable controversy with his latest, The Artist of Fasting. Loosely based on a Franz…
Though lauded today for lending traction in the then up-and-coming genre of jazz fusion, In a Silent Way was received as heresy on its release. Miles Davis’s most…
The title, Jeanne Dielman, 23, Quai du Commerce, 1080 Bruxelles, gives away this film’s clinical fascination with the everyday by defining the central character only by where…
Sátántangó’s very first shot set the stage for everything director Béla Tarr would make, what international festival directors would seek to imitate, and a developmental period for…