Using the infamous Lorraine, France coal miner strike of 1995 as a launchpad for his debut feature, Strike or Die director Jonathan Rescigno explores various…
Winnipeg madman Guy Maddin is back with another kooky, kitschy post-modern melodrama, this one called Stump the Guesser. It’s a 20 minute short that finds…
Within this year’s Panorama Dokumente section at Berlin, Patric Chiha’s If It Were Love stands as one of the festival’s more esoteric, and in many…
The 2020 Berlin International Film Festival may have closed its curtains on another year, but we’re still here talking its slate. Our third dispatch begins…
A spectral trilogy concludes under refracted conditions in Christian Petzold’s diagnostic landscape of 20th Century anxieties, which actualizes the magical realist gestures methodically peppered throughout…
Our second dispatch from the 2020 Berlin International Film Festival does something a little different from our familiar festival coverage pieces. Below, a trio of…
From the 1933 original to Paul Verhoeven’s Hollow Man, the cinematic iterations of Invisible Men have generally dealt with how a lack of accountability tends…
In his essential Jerry Lewis essay “The Jerriad: A Clown Painting,” film critic B. Kite discusses the lineage of classic clowns like Chaplin, Keaton, and…
The sixth feature film from Pema Tseden is a dream-inflected, almost Rashomon-like take on a road movie that uses the barren hills of the Kekexili…
Four years after his previous feature Koza, director Ivan Ostrochovsky returns to the Berlinale (this time under the new competition sidebar known as Encounters) with…
Orphea is as scattershot a film as one would expect from the unlikely artistic duo of Alexander Kluge and Khavn De La Cruz. The two…
40 years after his film Grand Opera debuted as part of the Berlinale lineup, legendary avant-garde filmmaker James Benning returns with a personal, strangely hypnotic…
Our first dispatch from the 2020 Berlin International Film Festival takes on a diverse mix of 2019 festival circuit frequenters and a pool of debuting…
A White, White Day is an uneven story of overcoming trauma that fails to muster the requisite pathos for its thematic material. Iceland’s Oscar entry this…
An utterly predictable narrative exercise, And Then We Danced salvages some intrigue in the celebration and presentation of its titular art. A familiar tale rears its head…
The Whistlers makes the most of its basic parts, tying some nifty knots and glossing up proceedings, but it fails to offer anything memorable. Corneliu Porumboiu’s The…
Vitalina Varela is a profound humanistic effort, conceptually bold and featuring compositions of affecting beauty. Winner of last year’s Golden Leopard at the Locarno Film Festival,…
While Saint Frances manages to mine some rich thematic material, its standard lo-fi indie aesthetic fails to elevate. For his feature film debut, director Alex Thompson teams…
Tseden’s latest is a clever indictment of the ways that both religion and government seek to deny women their due agency. Tibetan director Pema Tseden’s artistic…
Patricio Guzmán’s latest documentary offers similar but waning insight to his two previous, more successful efforts. The Cordillera of Dreams is the third and final film…