Peter Fonda’s self-produced Idaho Transfer (1972) exists online as a decrepit VHS rip and a few equally shoddy digital re-uploads. I’ve heard tell of an…
In the intro to My Undesirable Friends: Part 1 – Last Air in Moscow, director Julia Loktev states that none of the subjects or herself…
On the basis of his two solo outings as a writer-director, the filmmaker Zach Cregger has established a bit of a lane to himself in…
Obex One of the least consequential but more intriguing facets of our age of technology acceleration is watching which flavor of tech nostalgia will be…
One of the least consequential but more intriguing facets of our age of technology acceleration is watching which flavor of tech nostalgia will be the…
Contrary to its name, the attention economy thrives not on attention, but on precisely that gray zone between awareness and unconsciousness which brings forth the…
As of this writing, filmmaker Alice Maio Mackay turned 21 less than a week ago. She has also just premiered her sixth feature length film…
Setting themselves far apart from most of the indie/DIY horror scene that focuses on squeaky exploitation thrills and slasher stuff (not that there’s anything wrong…
Taking place within Argentina’s great depression in 2001, Laura Casabé’s The Virgin of the Quarry Lake is an intriguing effort at blending various styles, themes,…
Writer/director Brandon Daley is juggling a couple of very disparate tones in his new film $POSITIONS, an absurdist comedy that gradually transforms into a white-knuckle…
A hero’s journey holds appeal not just to the outsiders who chronicle it, but also to the hero himself, for whom narration imparts structure and…
Almost as if it were made in response to John Krasinski’s IF, a saccharine fantasy about a motherless young girl who through magical contortions was able…
Blue Heron Sophy Romvari has used cinema to mine the fractured, seemingly incomplete nature of her family history since her first short film, Nine Behind.…
If the end of the world left the children in charge, what kind of future might they build? This question simmers underneath a surface of…
Sophy Romvari has used cinema to mine the fractured, seemingly incomplete nature of her family history since her first short film, Nine Behind. In that…
“An ode to cinema” — an audacious claim with which to open one’s feature, but audacity courses through the work of Mosotho filmmaker Lemohang Jeremiah…
There’s a certain futility to any critical appraisal of a film like Jim Hosking’s third feature, Ebony & Ivory. That’s not to say there’s a…
By 1919, 24-year-old Richard Barthelmess was already a star. He’d just played the leading man, albeit in yellow-face, in D. W. Griffith’s Broken Blossoms opposite…
The House with Laughing Windows (1976) — Pupi Avati Giallo, the popular genre of Italian horror, can in truth be many things, though it tends…
When Robert Mitchum’s Jeff McCloud declared “Guys like me last forever” in Nicholas Ray’s Depression-haunted contemporary Western The Lusty Men (1952), it was hardly the…