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,…
A police investigation into the attempted murder of a fictional city’s vice mayor (Zhang Guoli), led by his percipient yet underachieving policeman son (Lei Jiayin),…
Finnish director Aki Kaurismäki’s latest film Fallen Leaves is a continuation of his Proletariat series. The previous films — Shadows in Paradise (1986), Ariel (1988),…
Youth (Spring) arrives in the midst of something of an inflection point: The West’s orientation toward China has shifted radically since Chinese documentary filmmaker Wang…
When Wim Wenders’ Perfect Days was announced to play in competition at this year’s Cannes Film Festival, his first since 2008’s totally forgotten Palermo Shooting,…
Berlinale’s Encounters section has largely been a platform for lesser known filmmakers since its inception, though it’s also seen its fair share of high profile…
Godfrey Reggio is a filmmaker whose best-known work could be seen as a forerunner of the experimental documentary style that has become so widespread in…
Writing in 1924, the rhetorician and literary critic I.A. Richards remarked, in his Principles of Literary Criticism, on the “futility of all argumentation that precedes…
Blanket declarations about three-hour-plus runtimes always seem curious when filmmakers employ said length for wildly different purposes. Though the sweeping epic may be the most…