It’s nigh-impossible to discuss the new film In My Room, from Berlin School-affiliated writer/director Ulrich Köhler, without revealing that a third of the way in, seemingly…
The Lighthouse is, in some ways, the last film we need right now. A male-centric chamber piece, Robert Eggers’s latest revels in the grotesqueries of guydom: farts, hooch, and…
Ira Sachs’ Frankie is a film of bourgeois comforts. Set in summery Sintra, it offers any number of picturesque views of the Portuguese town, which…
Synonyms is a film driven by an idea, one that rattles around in its protagonist’s head and belabors him at every step. The question is one…
The corrupt progress of global capitalism is and has been an inevitability for the past half century, its footprint visible in the bruises mottling the…
Takashi Miike has never been one to play it safe. With over 100 films under his belt in a little over 28 years, you would…
Argentine director Mariano Llinás’s La Flor is a project ten years in the making, and an ode to the sort of movies that filmmakers once…
More sentient discourse than credible drama, Julius Onah’s Luce frankensteins together a collection of button-pushers: issues of race, class, privilege, elitism, tokenism, essentialism, free will,…
Radu Jude begins his magisterial I Do Not Care If We Go Down in History as Barbarians with actress Ioana Iacob introducing herself to the…
We may have gotten to the point where not only is A24 curating its brand with obvious aesthetic guidelines, but also, we have fresh filmmakers…
Carlos Reygadas, the provocateur of Japon and Battle in Heaven, seems to have finally matured. Some might argue that he took a step forward with Silent Light; others (me) would…
Jim Jarmusch’s new horror-comedy, The Dead Don’t Die, is a missive from the other side. For one thing, it’s a zombie film in the tradition…
The Last Black Man in San Francisco is over-directed: The camera impersonates the POV of a pop fly ball, the images frequently are affected by…
Ostensibly a return to the populist wuxia films of Chinese director Zhang Yimou‘s mid-2000s hayday, Shadow instead feels more like an exercise in extended foreplay.…
Ryusuke Hamaguchi’s intimate epic of friendship between women, Happy Hour, was my favorite film of 2016, so needless to say Asako I & II, which…
More generationally distinctive than his recent output, Olivier Assayas’s latest, Non-Fiction, engages with a specific vein of cultural discourse regarding technology: e-books as a corruption…
In the year 2019 we have ourselves an honest-to-goodness, totally authentic film maudit, Brian De Palma’s new whatsit Domino. Barely completed, abandoned by its producers…
The Souvenir is that rare kind of great film, one that teaches you how to watch it as it goes on. There’s a constant tension…
For writer-director Terry Gilliam, a filmmaker who’s been ’tilting at windmills’ for most of his career, Miguel De Cervantes’s Don Quixote always seemed like an…
Alex Ross Perry’s Her Smell is a ferocious film, built upon a mesmerizing, volcanic lead performance by Elizabeth Moss. Moss plays Becky Something, the aged lead singer…