Padre Pio Disclaimer: It’s important to acknowledge the severity of the accusations of abuse made against both Shia LaBeouf and Asia Argento, and clarify…
After 2017’s Nico, 1988 and 2020’s Miss Marx, Italian writer-director Susanna Nicchiarelli brings her unofficial women-of-history trilogy to a close with Chiara. While the…
Huang Ji is among the last handful of Chinese directors to sneak through the portal distribution company dGenerate Films, the center of an important…
Brahmāstra Part One: Shiva is a soulless mega-franchise starter that does very little of interest with its massive budget. Chances are, you already know…
It can sometimes feel that Hold Me Tight coasts by on mood alone, but Amalric maximizes that mode, orchestrating his film’s disorienting tone with…
God’s Country is an arrogant and painfully writerly project that is only occasionally uplifted on the strength of its visual flourish. A classic sort…
Sandwiched in the middle of the late-summer/early-autumn run of major international film festivals, coming on the heels of Locarno, Venice, and Telluride and immediately…
Pinocchio is a fascinating late-period work from Zemeckis, one that takes in the full scope of his career as he wills us to believe in…
Cousins’ latest The Story of Film entry largely trades in hyperbole, platitude, and bland observation, rendering it little more than a 150-minute trailer binge. For…
Honk For Jesus’ plot is unevenly distributed and its tone a bit imbalanced, but it ultimately lands as a solid sendup of toxic church culture…
Master Gardener In hindsight, Paul Schrader’s career has been a repeated jettisoning and reappropriation of extraneous artiness, new off-kilter filmic shapes of inscrutable quality…
Camarera de piso — Lucrecia Martel’s latest short, commissioned as part of The National Autonomous University of Mexico’s Síntesis project — comes with a…
In an interview with Michael Guarneri, Lav Diaz states quite emphatically that “tragedy and suffering are an inherent part of man’s existence and death…
It’s the pillowing warmth of nostalgia, which sporadically rears its head that it may provide orientation and affirm consciousness amidst historical chaos, that makes…
The Cathedral is D’Ambrose’s portrait of the artist as a young man, a bracingly vigorous work and a precise survey of emotional turmoil. After a…
Speak No Evil is a grueling experience in the best possible sense, punctuating by a giddily mean-spirited and pitch-perfect ending. Like an unholy amalgamation of…
House of Darkness absolutely butchers its attempt at a female empowerment tale, landing somewhere between overtly offensive and appallingly stupid. It’s feast or famine when…
One of the most enjoyable films presented in this year’s Crossroads Festival is also one of the shortest. In Object Permanence, Alix Blevins offers…