Malaysia-born, Osaka-based director, and self-described “cinema drifter” Kah Wai Lim has previously made films in his native Malaysia, Hong Kong, Osaka, Croatia, and Slovenia,…
Hiruko the Goblin Shinya Tsukamoto: unapologetic termite artist, jack of all cinematic trades — besides merely directing all of his feature-length freak shows, he…
Fucking with Nobody is a radical, playful bit of meta-comedy that executes its risky conceit with aplomb. For her sophomore feature, Fucking with Nobody, Finnish…
Azor is a fascinatingly oblique quasi-thriller that grows in unsettling power across its runtime. Andreas Fontana’s Azor is a fascinatingly oblique quasi-thriller, carefully organizing a…
Diaz’s signature long-takes here work more to push the material into territory of fatalism rather than substantive political observation. Lav Diaz knows violence. The…
Dating abd New York offers sporadic pleasures, but can’t shake loose its obvious cribbing of familiar cinematic influences. Dating and New York, Jonah Feingold’s…
Language Lessons never quite becomes more than an acting exercise, but it’s still offers up intriguing questions about the disparity between online and offline personae.…
To put Maurice Pialat’s 1980 masterpiece Loulou into words is a deceptively challenging task. The premise seems simple: restless Parisian woman Nelly (Isabelle Huppert)…
Memory House is little more than a mélange of affectations and overt symbolism, opaque for its own sake and succumbing to the worst arthouse pretenses.…
Who You Think I Am attempts to speak to our current Internet age, but mines only shallowly with its picked-over storytelling mode. Juliette Binoche, for…
Some pacing issues occasionally upset We Need to Do Something’s otherwise effective tone, but it remains a solid, low-ceiling genre exercise. We Need to…
Having first reached the festival circuit in December 2020 at the Cairo International Film Festival, the Mainland Chinese entry for competition at this year’s…
Superhost isn’t heavy on style and runs out of steam too early, but Gracie Gillam’s outlandishly unhinged performance keep things from becoming bland rehash. A…
Yellow Cat is the kind of cribbing-as-mode film that illuminates nothing other than the kinds of movies its director likes. Godard once declared that all…
Anne at 13,000 Ft. keeps its familiar portrait of an unraveling psyche fresh through its viscerality and opaque characterization. Anne at 13,000 Ft. only occasionally…
Faya Dayi is the best kind of documentary, one that eschews prefab forms and instead finds mesmerizing beauty in the quotidian. Programmed as part of…
Mogul Mowgli doesn’t quite know how to weight its issues or manage its scant runtime, but Ahmed keeps things raw and poignant. Rather strangely, Bassam…
Sinkhole Nearly a decade after his previous feature, the 2012 big-budget disaster movie tentpole The Tower — South Korea’s very belated answer to The…