Ah Pulp: national treasures, indie disco floor-fillers, perennial smartarse answer to “Blur vs Oasis.” And in frontman Jarvis Cocker, they had the gawky underdog turned…
The magic is gone. That much is impossible to ignore. Practical Magic 2 is little more than reheated nostalgia bait, though Warner Bros. would like…
Powwow People, the new documentary from Ho-Chunk / Pechanga director Sky Hopinka is somewhat more straightforward than the experimental filmmaking that first gained Hopinka notoriety.…
The title of the world’s oldest living person changes hands with inevitable frequency, with long-standing centenarians perpetually fading away to make room for the next…
In this dispatch: Josephine, The Violinist…
In the backseat of her parents’ car, an eight-year-old girl (Mason Reeves) searches the word “rape” on her mother’s phone. We only see her face…
If anyone watches The Violinist, there is a good chance this has something to do with the spotlight thrown upon it by its being awarded…
The pressure of representation weighs heavily on Abinash Bikram Shah’s Elephants in the Fog. With its accessible arthouse style and the sobriety of its subject…
Guatemala on-screen is underrepresented, fertile territory. Mad Mel’s Apocalypto is likely the region’s highest profile depiction, or you could look toward El Norte from Gregory…
Argentinean director Benjamín Naishtat garnered notice about 15 years ago, primarily with a trio of innovative, highly unusual feature films. 2014’s History of Fear was a nearly abstract nocturne focused on the various ways that a society can break down, turning its participants against one another. On a meta-level, it was about the different ways
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As the popular online adage goes, Cinephilia is a disease, and few exemplify this better than filmmakers themselves. Shaped by the forms, narratives and dramaturgies that constituted their cinematic initiation, filmmakers often find it difficult to go beyond these formative (pun intended) experiences, trapped seemingly forever by their anxieties of influence, to borrow the title
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There is a striking early scene with an unknown woman that cuts deep into the sensory motif embedded in the title of May el-Toukhy’s latest…
War is hard to steer away from in the 2026 Venice Film Festival program, where films from Iran (A Bit of Light), Palestine (Citizen Osama),…
In 2025, among the best films of the year, at least according to this very outlet, was Lav Diaz’s Magellan. That work concluded along the…
NAZA is a film so powerful and so utterly terrifying that it should be watched by everyone. And still, it would feel wrong to slot…
The way in which we tell the origin story of a romantic relationship says a lot about how we look at our partners in the…
A Paul Greengrass movie is a lot like finding yourself stuck next to a talkative history professor on a plane. Well-meaning, passionate, and rambling, you…
We, in the modern world, are more connected to one another than ever before, and increasingly so. But are we also lonelier than ever? In…
Hope, South Korean director Na Hong-jin’s first foray into big-budget science fiction, is still very much a Na film. The hapless main characters, the thrilling,…
Kiyoshi Kurosawa is our great purveyor of modern ennui, a chronicler of creeping existential dread as the world we have created now threatens to engulf…
Only the teeming right-wing critics of mid-20th century Cahiers du Cinéma could have so fervently opposed the notion of political didacticism in film. Needless to…