Ancient life was all silence. In the 19th Century, with the invention of machines, Noise was born. —Luigi Russolo, The Art of Noise The…
Evil Does Not Exist is the sort of film one makes after winning an Oscar. Following the massive success of Drive My Car, which…
Many critics have already labeled Joanna Armow’s laboriously titled The Feeling That the Time For Doing Something Has Passed a “millennial” comedy (a fitting…
The lynchpin scene in Luca Guadagnino’s Challengers, an overheated yet deliciously entertaining sports drama, arrives around 30 minutes into the film and finds our three…
“You were to suffer your fate. That was not necessarily to know it.” So declares May Bartram to John Marcher, both doomed lovers of…
The title of Woody Allen’s latest film translates as “a lucky break,” and that’s an apt enough way to characterize his ability to line…
Prior to the premiere of The Old Oak at Cannes back in May, Ken Loach indicated that this would be his last feature film.…
In an edition of surprises, programming eclecticism, and a refreshingly measured jury performance, Nicolas Philibert’s Golden Bear win for his latest documentary might yet…
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…
Well into his 70s and his fifth decade working among the most prominent figures in Sinophone cinema, Zhang Yimou continues with Article 20, a…
When first introduced in About Dry Grasses, Nuri Bilge Ceylan’s latest feature, Samet (Deniz Celiloğlu), an art teacher, has been in the remote village…
The familiar quietude of vacant alleys, secret crooks, and empty restaurants; those shared moments of unspoken reminiscence and silenced discovery. With Here, Bas Devos…
In film scholar Gilberto Perez’s incredibly perceptive book on the ontology of cinema, The Material Ghost, the moving pictures are always, well, moving: between…
A lush, elemental reckoning unfurls across the relatively condensed runtime of Felipe Gálvez Haberle’s debut, The Settlers, even if few of its proceedings strictly…
Newly christened Director’s Fortnight General Delegate Julien Rejl has expressed a desire to highlight new voices with his first programmed slate — not just…
The abstraction of narrative devices to facilitate a certain tenor has lent itself, among certain circles, to the term “tone poetry.” While cinema has…
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…
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…