Luis Buñuel’s Los olvidados, released, rather perfectly, at the midpoint of the century, is perhaps one of the most uninviting kickoffs to a director’s…
Classified as a documentary in the Berlin festival catalog, Tatiana Huezo’s new film The Echo is more accurately clarified as a scripted film shot…
In experimenting with narrative in the cinema, we take on a capacity for expression that currently has no real affinities or structures. The imagination…
With Notes from Eremocene, experimental documentary filmmaker Viera Čákanyová rounds off her informal “post-human trilogy” comprising 2019’s FREM — a futurist meditation on the…
Dancing Queen, the third theatrical feature by Aurora Gossé, who has already made a handful of domestic Norwegian TV series and shorts, boasts a…
It’s arguably a Sisyphean task to adapt Henry James’ late work to the screen, and in particular his 1903 novella The Beast in the…
Writer-director Christopher Landon has made a career out of taking some of the most tired and shopworn genre plots imaginable and infusing them with…
Very loosely inspired by a colorful real-life incident that sadly didn’t end well for the animal in question, Cocaine Bear is a period horror-comedy…
In Starboard Wine, Samuel Delany proposes that “we need images of tomorrow, and our people need them more than most.” Queer life, as it…
“Art is for keeps,” the protagonist of Vasilis Katsoupis’ Inside proclaims, just shortly before finding himself condemned to an art-laden torture chamber. Played by…
If the camera produces an impression of a visualizable and material reality, how can the apparatus of cinema stand in for an abstract and…
Premiering in Berlinale Forum, a space reserved for “test[ing] the boundaries of convention,” Yoo Heong-jun’s Regardless of Us will inevitably elicit comparisons with the…
Images fade in and out, they flicker and repeat as metallic crashing and analog distortion echo from a distance. Lei Lei’s fragmentary short, That…
In João Canijo’s Berlinale competition film Bad Living, long shots are composed so precisely that their motivations frequently don’t become clear for minutes —…
Lois Patiño began his career making landscape films—a cycle of shorts that reframe the relationship between geographic space and spectatorship. Over the past decade,…
Since moving from 16mm to digital nearly fifteen years ago, James Benning’s films have become more and more stringent, foregoing surface incident in favor…
Subtlety isn’t Singaporean cinema’s strong suit, as year after year of mainstream slop, indie darlings, and enfant terrible flops (having largely been banned back…
The idea that cinema is dying, or perhaps already died, is certainly popular in a time when digital spectacle has all but consumed any…