Rowdy Herrington’s 1989 opus Road House is, in the unironic view of this writer, a bona fide classic and one of the best American films…
How old were you when you recognized that the villain of Ivan Reitman’s original Ghostbusters was the Environmental Protection Agency? Obviously, it’s the text of…
Joe McNally says he still sees things through nine-year-old eyes — eyes that, now in their late-’50s, once witnessed the murder of his teenage uncle…
Despite the desperate urgency of the film’s subject matter, Virpi Suutari’s Once Upon a Time in a Forest takes its time. Lush and languid encounters…
Part of a generation of First Nations filmmakers that also includes Rachel Perkins (Radiance, Bran Nue Dae), Warwick Thornton (Samson and Delilah, Sweet Country, The…
Achilles, the debut feature from Iranian director Farhad Delaram, is fairly unusual in a number of ways, often displaying a frankness regarding oppression that is…
To the uninitiated, written descriptions of Radu Jude’s cinema might give the wrong impression of his films as dizzyingly dialectical exercises requiring a complete working…
It’s hard not to view Knit’s Island as a sort of analogous, lo-fi version of something like Ready Player One. Strip away the virtuousic special…
A curious counterpoint to Celine Song’s much-lauded Past Lives may be found in Mimang, Kim Tae-yang’s feature debut, and the relative prestige of the former…
Even in New York, there often seem to be more experimental films and videos out there than any single venue could ever hope to showcase.…
“400,000 FMG isn’t a wage,” one Malagasy car wash customer admits to documentarian Michaël Andrianaly’s camera in regard to the workers at the wash. At…
Irish Wish marks the second collaboration between Janeen Damian and Lindsay Lohan, after their lukewarm yet distinctly feel-good Falling for Christmas. Far from the wintry…
Some of the most unique and provocative films of recent times have been works we might call anthropological docudramas. Adopting and expanding the tradition of…
The names of the two main characters in Sara Summa’s debut feature appear rather ambiguously on the screen. Summa’s opening titles are handwritten in partial…
Taken almost exclusively from the personal illustrated diaries of Frida Kahlo, Carla Gutierrez’s Frida brings the renowned artist’s painting to often breathtaking life through animation…
Diane Arbus once described horror as the relationship between sex and death. With the exception of pornography, no other film genre brings us closer to…
Chinese-Korean director Zhang Lu has been a bit of a slow burn in the West. Despite having directed 12 feature films since 2003, only a…
A favorite of the Cannes selection committee for the last 20 years or so, Austrian filmmaker Jessica Hausner has enjoyed a semi-embattled relationship with attendees…
Writing about Ryuichi Sakamoto | Opus is a challenge, not least because of its stark minimalism. I can’t recall a concert film as ascetically committed…
Almost every program description or review of Alison O’Daniel’s first feature, The Tuba Thieves, including now this one, begins by noting that it is largely…