Mandibles Perhaps the most unbefitting title to arrive in the middle of a global pandemic, Quentin Dupieux’s Mandibles defies the current for two reasons. That…
Another week, another festival. For this year’s BFI London Film Festival, it’s business as usual, which is to say the unusual business of 2020 film…
Where many festivals this year have had to get creative in their exhibition format, Nightstream has taken that industrious spirit to a new level —…
Time From the western to the road movie, the legacy of the climactic homecoming looms large in American cinema, which is everywhere peopled by vagrants…
Atarrabi and Mikelats A late-blooming filmmaker with admirably catholic interests, increasingly Catholic tendencies, and a rather revanchist reputation, Eugène Green, not unlike Éric Rohmer before…
Mangrove Steve McQueen has spent the last decade making films that are quite decidedly about America, creating a body of work in the process that…
Lovers Rock Steve McQueen has always been a fine purveyor of potentially rich and powerful narratives, but he’s been much less consistent as their steward.…
The fall festival season has looked far different this year, limited both in its ability to exhibit films and in the breadth of selection available.…
Falling The prospect of spending a couple hours with one of the most tremendously unpleasant movie characters you’re likely to ever encounter might not even…
The Best Is Yet to Come Think Spotlight but shot by Yu Lik-wai, Jia Zhang-ke’s favorite DP. Sounds pretty neat, right? And for a while,…
The Disciple Sharad Nerulkar — the titular disciple in Chaitanya Tamhane’s sophomore feature — is, by most accounts, unexceptional. He’s devoted his life to archiving,…
Pieces of a Woman Director Kornél Mundruczó knows how to open a film (see the otherwise underwhelming White God, for example), and with Pieces of…
Soul Emir Ezwan’s debut feature, Soul, is part of an emerging Malaysian cinema heavily composed of genre fare. Made for roughly $80,000 USD, the horror…
Night of the Kings Storytelling is at the crux of Philippe Lacôte’s entrancing sophomore feature, whose structural integrity depends upon a viewer’s willingness to accept…
Lahi, Hayop Lav Diaz knows violence. The director’s filmography is virtually an exemplar of the temporal nexus of historical and contemporaneous representations of authoritarian exploitation.…
Nomadland Having just taken the top prize at this year’s Venice Film Festival, Nomadland begins its journey towards Oscar gold. That’s admittedly a flip assessment…
Legally Declared Dead Anthony Wong is an axiom of Hong Kong cinema, an iconic actor who has featured in every conceivable film genre and played…
Unleashed & Geran Two very similar films in premise but vastly different in execution hit the festival this year. NYAFF is always a good home…
Mainstream Social media, as captured in cinema, is largely a trap. The past decade has demonstrated its allure among filmmakers, and it’s easy to understand…
Beasts Clawing at Straws The new Korean crime thriller Beasts Clawing at Straws is a derivative, charmless bit of Tarantino-aping nonsense, a convoluted mess so…