Christopher Jason Bell has been making movies on the margin, funded only by himself and shot with a small crew as and when they can,…
Much like Helena Wittmann’s first feature, Drift — whose audaciously hypnotic visuals and elliptical narrative heralded a major directorial presence — Anthony Chen’s third film,…
With The Monk the Gun, director Pawo Choyning Dorji makes sure that viewers are fully aware of the film’s context by providing a barrage of…
The year was 2005, and if it wasn’t a simpler time, the ways in which it was inane only felt obvious in hindsight. A majority…
In This Issue: FEATURES: Not the Other Way Around: Poor Things, From Novel to Screen by Theo Rollason Jafar Panahi’s Post-Arrest Filmography: Deliberating Defiance by Dhruv…
Dear Kaita Ablaze France had the Comte de Lautréamont, a young writer who embodied the Romantic spirit even more than the Romantics, and thrust an…
Although its title might suggest otherwise, the breakfast food most prominently employed as a metaphor in Scrambled, Leah McKendrick’s directorial debut, is not eggs, but…
In film scholar Gilberto Perez’s incredibly perceptive book on the ontology of cinema, The Material Ghost, the moving pictures are always, well, moving: between documentary…
The cinema of Matthew Vaughn could quite possibly be the most insufferable currently being financed by Hollywood. Say what you will about the MCU —…
There comes a time when you just can’t swallow the bitter pill of reality; you have to crush it up, mix it in with some…
More exasperating than the woebegone premise of Olivia West Lloyd’s feature debut is the experience of actually watching it all unfold. The film limps along,…
Vacation in Malia on the Greek island of Crete, a British tourist hub that might as well be hedonism incarnate, doesn’t end well for the…
Disco Boy, the debut feature film from Italian director Giacomo Abbruzzese, marks an interesting moment for arthouse cinema. Abbruzzese offers up an edgelord take on…
Following quickly after the opening credits to She is Conann — a rapid montage of freakish landscapes played to a hypnotic classical piece — director…
Molly McGlynn’s sophomore feature, Fitting In explicitly reveals its core conceit from the very beginning, opening with two quotes on a symbolically pink-colored background: the first,…
Director and co-writer Alex Schaad has made a bold gamble with his new film Skin Deep, taking what is essentially an ‘80s-style body-swap premise and…
Head South For as long as the cinematic form has existed, it has embraced nostalgia, that cultural drug which oversees virtually every socio-political framework known…
In its early narrative, Simone Scafidi’s Dario Argento Panico introduces its eponymous subject, now in his 80s, as a sort of mythologized figure — a…
The virtues of Danish director Nikolaj Arcel’s new feature, The Promised Land, are those of old-school Hollywood studio pictures. The film is scrupulously well-constructed in…
In his books Cinema 1 and Cinema 2, Gilles Deleuze draws a distinction between the movement-image and the time-image. The movement-image is concerned with linear…
Fabio D’Orta’s The Complex Forms opens with a long pan over a burning car, set to an audacious classical piece, that slowly flips 180 degrees…