Do Not Expect Too Much From the End of the World To the uninitiated, written descriptions of Radu Jude’s cinema might give the wrong impression…
Before the age of BookTok commenced, which both invigorated the eternally dying publishing industry and perhaps brought about the death of literature by pushing sub-AI…
A trio of octogenarians have a close encounter of the third kind in Jules, director Marc Turtletaub’s high-concept dramedy that is, strangely enough, not the…
In Emmanuel Carrère’s Between Two Worlds, Juliette Binoche’s character, Marianne, is introduced as a credibly depressing symptom of the global economy. In her fifties and…
Since I was a boy, gaunt and ghoulish, raised on the children’s renditions of Edgar Allan Poe and those silly Goosebumps books, I’ve been obsessed…
Early on in What Comes Around, Amy Redford’s sophomore feature (coming after a 15-year hiatus), it becomes clear that logic will be an absent player.…
For centuries, humanity has found ways to outsource certain aspects of childbirth, but these advances were mostly limited to wet nurses, surrogate pregnancies, and, later,…
The directorial duo of Tizza Covi and Rainer Frimmel have been regulars on the festival circuit for the better part of twenty years, but they…
Red Rooms In 2002, Olivier Assayas’ Demonlover premiered in competition at the Cannes Film Festival to a storm of controversy, eclipsed — for better or…
One or two festivals ago, who can remember which — this time of year they all blend together — this critic wrote about Nomad, Patrick…
Randall Park’s directorial debut, Shortcomings, is sure to draw immediate comparisons to Crazy Rich Asians, a film that made $238 million and was praised for…
MONDAYS Anyone who has ever worked a 9-5 office job has likely felt stuck performing the same meaningless tasks day after day. The only possibility…
No film festival would be complete without a road movie. For the 2023 edition of Japan Cuts, the U.S. premiere of Under the Turquoise Sky…
Earlier in 2023, this writer vacationed in Montreal and saw Eckhart Schmidt’s The Fan (1982) at the Cinéma Moderne, going in completely blind and only…
Repentance is good. At least, it is under certain conditions: it must be clear, sincere, and selfless. Most importantly, while it is always good for…
Anyone who has ever worked a 9-5 office job has likely felt stuck performing the same meaningless tasks day after day. The only possibility to…
Do we still need the album? That question — elicited by the advent of streaming music platforms and the musicians’ newfound ability to self-publish songs…
With Passages, American indie filmmaker Ira Sachs builds on the not-unexpected Euro-arthouse move he made with 2019’s underwhelming Cannes competition swing Frankie, which threw a…
“Only Minnelli believes implicitly in the power of his camera to transform trash into art, and corn into caviar. Minnelli believes more in beauty than…
Premiering in the Berlinale’s Forum section, Claire Simon’s documentary Our Body follows her 2021 docudrama I Want to Talk About Duras. The title of that…