There’s a moment at the end of the first part of Dead Souls (roughly three hours into the film’s eight-hour runtime) when its director, Chinese…
Vox Lux, the second film from actor-turned-director Brady Corbet (after 2016’s The Childhood of a Leader), scans as a fruitless and embittered attack on pop…
While it won the prestigious Palme d’Or at this year’s Cannes Film Festival, there’s nothing especially radical about Shoplifters that sets it apart from the other domestic…
The year’s second major film addressing the particular evil of church-sanctioned gay conversion therapy, Boy Erased (based on a memoir of the same name) was…
Do we really need another portrait of a frustrated sad-sack young man, even if it comes in the form of one of Lee Chang-dong’s typically…
Directing debuts from established actors are often cause for skepticism or outright disappointment. (Not everyone can be Charles Laughton.) And so it is with Paul…
Over half a century into Frederick Wiseman’s storied career, the legendary documentarian’s interest in systems — that is, how they function in relation to the…
Based on a pair of memoirs, authored by father and son David and Nic Sheff — which detail the latter’s meth addiction and general self-destructive…
A driving force behind the work of Andrew Bujalski is his passion to transcend the vapidness found in so much of contemporary American independent filmmaking. Funny Ha…
Those familiar with Hélène Cattet and Bruno Forzani’s previous films, Amer and The Strange Colour of Your Body’s Tears, will be well-prepared for another of…
Beware the pseudo-experimental feature film that begins with a declaration that ‘this is a metaphor.’ Madeline’s Madeline is the third feature film directed by Josephine Decker, but you’d never…
From the title alone, Hirokazu Kore-eda’s follow-up to After the Storm is unlikely to elicit the usual comparisons to Ozu; broadly speaking, The Third Murder…
Debra Granik’s new film works best when it doesn’t allow the purity of its empathy to get in the way of its critique of the…
If Jeannette: The Childhood of Joan of Arc doesn’t scale the insurmountable heights of St. Joan films by Dreyer or Bresson, it’s for Bruno Dumont’s…
In transmuting the true-life story of rodeo star Brady Jandreau into the sort-of-fictionalized The Rider, director Chloé Zhao uses low-key character and narrative detail to…
“Meta” inadequately describes the interlacing literary and cinematic references, stories-within-stories, digressions, subplots and general convolution that comprises Arnaud Desplechin’s Ismael’s Ghosts, a dense and appealingly sloppy…
The bourgeois Brooklyn of Alex Ross Perry’s Golden Exits is a “wasteland in the middle.” The film opens with an airplane flying away for somewhere else,…
Pivoting from the cerebral intensity of Queen of Earth — an Images, or Fassbinder, -like exteriorization of a woman’s mental breakdown — Alex Ross Perry’s latest is…
Philippe Garrel’s career has certainly taken an odd turn. The director, who first made waves in the experimental Zanzibar Group after Mai ’68, now sits…
Scott Cooper is not a subtle filmmaker. Further proof of this comes in the first five minutes of his Hostiles, when two young children and…