Will Poulter’s course has been an unconventional one fo tollow. Breaking through in the UK when still a teen with sketch show School of Comedy…
Imagine operating on near-dying people every day in the most horrific conditions. Droves of broken bodies arriving at your hospital after mass bombings of civilian…
Cinema has a unique capacity for depicting time, as we all know. But this plasticity — turning “time” into a physical ribbon of pictures and…
Seeing the new KATSEYE documentary in August of 2026 is a lot like seeing a brand new feature from a recently deceased actor. Between filming…
In this dispatch: The Riverbank, Hanabi…
The northern city of Recife, Brazil, enjoyed something of a renaissance last year with the success of Kleber Mendonça Filho’s The Secret Agent. Garnering more…
“Four years have passed since the accident. You feel that your relationship to radioactive contamination is changing,” intones the narrator near the beginning of Ana…
Andreas Fontana’s 2021 film Azor told the story of Argentina’s brutal military dictatorship through the lens of a ground-level functionary, observing how unremarkable bankers and…
It’s a common refrain that it takes an outsider filmmaker to capture the truth of a place. An influx of Germans like Billy Wilder and…
Georgian filmmaker Uta Beria’s Tear Gas opens on a series of still images depicting people in migration, which eventually bleeds into the moving image as…
Schematically, one could divide Hong Sang-soo’s oeuvre into two sets of films: on the one hand, those where the structural play with narrative is upfront…
Who could forget that scene in Goodfellas where Ray Liotta’s character narrates what life is like in prison for “wiseguys”? As his cellmates slice garlic…
The decadent luxury and moral rot of extreme wealth; a location as isolated as it is idyllic; lithe young bodies glistening in sunlight; the churning…
Sometimes you just need to get a little stupid with it. That’s not an insult; it’s a label writer/director Dylan Meyer wears proudly on her…
A nasty, ruthlessly streamlined throwback to the sleepover staples of the Reagan administration, David Robert Mitchell’s The End of Oak Street (unofficially) brings the curtain…
Marketed as “a Green Day comedy,” Lee Kirk’s newest film, Nimrods, could more fittingly be described as specious or surprisingly inept. Or, it could be…
A few years ago while re-watching Jean-Luc Godard’s Histoire(s) du Cinéma, I was taken aback when 2a: Only Cinema ended with a durational shot of…
Flitting across genres from musical to beekeeping drama to heist movie to revenge thriller, yet rooted in the culture, ways of life, and eccentricities of…
A frontier western without any ontologically stable sense of indigeneity or the homestead, Pablo Aparo’s The Victors is a film that resists the easy binaries…
Like his previous feature, which opens with a 1988 Coca-Cola ad, Nicolaas Schmidt’s September Afternoon begins with another vintage commercial — or, at least, a…
Dedicating more attention to the practicalities and criminal underbelly of the farm-to-table honey industry than certainly any fiction film before it, Andrew Patterson’s The Rivals…