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…
Well into his 70s and his fifth decade working among the most prominent figures in Sinophone cinema, Zhang Yimou continues with Article 20, a tragicomic…
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 of…
The familiar quietude of vacant alleys, secret crooks, and empty restaurants; those shared moments of unspoken reminiscence and silenced discovery. With Here, Bas Devos trains…
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 documentary…
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 qualify…
Newly christened Director’s Fortnight General Delegate Julien Rejl has expressed a desire to highlight new voices with his first programmed slate — not just by…
The abstraction of narrative devices to facilitate a certain tenor has lent itself, among certain circles, to the term “tone poetry.” While cinema has remained…
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…
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…
We’ve just passed the one-year anniversary of Jean-Luc Godard’s death via assisted suicide. Those closest to him suggested his advanced age and ailing health led…
“I shall. For it is a happy tale.” So begins the lurid odyssey of flesh reformed and soul remade, a marionette reanimated by its creator…
Filmmaker Ava DuVernay is no stranger to explorations and dramatizations of injustice in her work. Journalist Isabel Wilkerson’s 2020 nonfiction book Caste: The Origins of…
Alice Rohrwacher’s cinema occupies a unique place in the festival landscape, part pleasingly familiar and part bracingly daring, especially in the context of her relatively…
Kimitachi wa dô ikiru ka, retitled The Boy and the Heron for the English-speaking world but better translated as How Do You Live?, is the…
As the star of Hong Sang-soo has improbably grown, the traditional (and often erroneous) stereotypes lobbed against his films have stayed stuck in the mud.…
Pedro Costa’s new eight-minute short film The Daughters of Fire is more daring, more formally complex, more beautiful than almost any other recent work one could…
For most of Frederick Wiseman’s career, the master documentarian has focused on the lives and institutions of the United States. His films have painted a…
With his latest film Monster, Hirokazu Kore-eda has outdone himself. Rather than make one bad film, as he usually does, the Japanese director has made…
As a television actor whose first directorial effort, a spiky genre mash-up that nebulously spoke to the zeitgeist, won an Academy Award for their screenwriting,…