Space and time are rendered deliberately unstable in Andrew Haigh’s All of Us Strangers. The film is anchored in a new, near-empty London high-rise where…
In the pantheon of late-19th to early-20th century intellectuals, there are few with such starkly opposing views as Sigmund Freud and C.S. Lewis. At most…
A major fear factor in horror stems from isolation, and its pervasive influence extends to both claustrophobic and agoraphobic conditions. Whether confined within a box…
More than almost any other director, the methods of Michael Mann’s filmmaking have always matched its meanings, and his characters are defined by their attempts…
The latest piece of cotton candy in the ever-prolific François Ozon’s filmography, The Crime is Mine (Mon Crime) finds him restaging a 1934 play by…
In October of 1972, a chartered airplane carrying four dozen people including a Uruguayan rugby team and their friends and families crashed in the Andes. Those who weren’t killed upon impact or in…
A gangster movie, a story of post-colonial alienation, a broad satire of academia, and a romantic comedy, Mexican director Fernando Frías’ latest film, I Don’t…
Discussing Sean Durkin’s The Iron Claw, a dramatization of the lives of the Von Erich clan whose importance to professional wrestling has stretched across decades and multiple generations, in any great…
We live in cynical, hyperconnected times, and one remedy we rely on our cultural products to deliver now and again is genuine, unabashed sincerity. Feel-good…
With its title referring to the scar left behind by a suicidal person who hesitates and fails to deliver a mortal wound, Selman Nacar’s Hesitation…
There’s a pretty standard axiom about “knowing your audience” when it comes to writing; or in this case, documenting a renowned filmmaker. Cyril Leuthy’s Godard…
The latest Vietnamese box office sensation from Victor Vu, one of the country’s most prolific directors, The Last Wife teases the gaping hole for genre-defying…
Director George C. Wolfe’s biopic and period piece Rustin opens with recreations of several iconic Civil Rights-era scenes: Tougaloo College students and faculty doused with…
Scanning the logline alone of Cord Jefferson’s American Fiction is enough to engender a double-take, although less for its audaciousness and more out of an…
Brian Helgeland’s Finestkind is an evasive conundrum, a hodgepodge of augmented dramaturgy that very poorly traverses what should be electric genre terrain. Its general plot…
It’s 2023: Streaming has become the dominant form of mass culture consumption, handheld Internet access is ubiquitous, the rich have gained total hegemony over American…
The issue at the heart of Jonathan Glazer’s The Zone of Interest is one of the oldest in the cinema: how does one represent the…
Movies stamped with the HBO Documentary Films logo tend to fall into a very specific category of non-fiction image-making — a baseline level of competency,…
In 1993, when the third edition of Japan’s biannually held Yamagata International Documentary Film Festival took place, no one could have foreseen the seismic impact…
“Camels are adored by their jockeys,” a Bedouin camel herder sings out to the snow-covered desert at the beginning of Abu Bakr Shawky’s Hajjan. Inside…