For anyone lamenting the political reticence of much of American independent filmmaking, Sean Baker’s The Florida Project—the consensus favorite of this year’s Directors’ Fortnight Program…
Mademoiselle Paradis tells the true story of the titular musical prodigy, an Austrian contemporary of Mozart, during a most strange period of her life. Blind…
Theo Anthony’s Rat Film, which first premiered at Locarno in August, wastes no time in grabbing your attention, opening with voiceover about the beginning of…
Though Romanian director Cristi Puiu sets his latest film, Sieranevada, at a family gathering commemorating the death of a late patriarch, the filmmaker has much more…
Critics out of Cannes labeled Jean-Pierre and Luc Dardenne’s The Unknown Girl “a lesser work.” If that’s the case, it just proves that the brothers are…
Bertrand Bonello’s controversial new feature Nocturama, which was passed over by both the Cannes and Venice film festivals, has been pigeonholed as a film that supports…
While it’s exciting to discover completely unknown directors, it’s equally—if not more—interesting to watch a (relatively) well-known artist transition into feature filmmaking. Making his debut…
The stateside media-consuming public’s seemingly insatiable appetite for standup comedy product (The Comedian, Showtime’s I’m Dying Up Here, infinite podcasts) is the target audience of The…
Admirers of David Lowery’s third feature (and second with stars Rooney Mara and Casey Affleck, after 2013’s Ain’t Them Bodies Saints) have and will point…
The high-stakes world of standardized testing may sound like a punchline, but that’s essentially the setup to Nattawut Poonpiriya’s NYAFF-opening Bad Genius. The film follows Lynn (Chutimon…
Utterly adventurous, João Pedro Rodrigues’s dizzying and highly personal The Ornithologist is loosely based on the life of St. Anthony of Padua and unfolds in the…
An auteurist invention of the highest order, Matías Piñeiro’s ongoing “Shakespeare series” is the ideal platform to showcase the Argentinean director’s enticing and increasingly unique…
Though Terence Davies was absent from the Vancouver International Film Festival in 2015, his Emily Dickinson film A Quiet Passion makes its appearance this year…
Give Nacho Vigalondo’s latest points for being consistently unpredictable: it’s a monster movie, in a sense, but the monsters turn out to be analogous for its…
“Everything disgusts me,” exclaims dying King Louis XIV (Jean-Pierre Léaud). The most disgusting thing present? The repulsive nature of aristocracy, laid out in full view…
That advice may well be applied to Olivier Assayas’s slippery, sensual Personal Shopper, which does for horror what Irma Vep (still the high watermark of…
In the case of Alain Guiraudie’s relentlessly weird Staying Vertical, there may not be anything to do except surrender to the strangeness. The story follows…
What Kenneth Lonergan understands, probably better than any other writer-director working today, is how difficult it is to communicate grief in a convincing way on…
Park Chan-wook’s career has largely been steeped in a particular fusion of twisty revenge narratives padded with philosophical implications. His latest, The Handmaiden, feels particularly…
Jim Jarmusch’s career trajectory has afforded distinct perspectives on his work, especially as that relates to the idea of a monotonous kind of living. Paterson is…