Bones and All isn’t successful across the board, but it thankfully prioritizes Guadagnino’s strengths and results in arguably his finest film. Nearly six years out from…
EO avoids the simplistic anthropomorphism that has plagued so many recent animal-centric films, and immerses viewers into something entirely more alien. Pitched as a remake of…
A Couple reflects a shift in Wiseman’s work, his fascination in institutional minutia pivoting to more transcendentalist territory, to moving effect. Performance — itself a…
Salvatore is an undeniably pleasant and informative jaunt through fashion and film history, but a lack of balance and cohesion keep its ceiling low. Call it…
Armageddon Time is far from Gray’s best and can occasionally risk eye-roll liberal apologia, but the director is ultimately too smart a filmmaker to fully…
TÁR raises plenty of fascinating questions, but Field unfortunately proves more interested in depicting the luridness of their specific context here than he does in exploring…
The Novelist’s Film feels more diaristic than anything Hong has made before and results in what’s arguably his most emotive and personal film. One of the…
Rimini possesses a frigid sociological potency whose disparate elements capture a stratified generation’s cultural and libidinal imaginary. The curtain doesn’t quite fall in wintry Rimini,…
Decision to Leave piles on the plot twists, but never loses its essential noir romance vibe. Tang Wei remains one of the great actresses of our…
Stars at Noon is the perfect externalization of a lovers-on-the-run experience, a fitting send-up to its source material. A gnarled, lightbulb-spotted, two-dimensional plastic facsimile of a…
Triangle of Sadness vacillates between slight but sly commentary and outright gaudiness, but an enigmatic, delightfully bathetic ending ushers Östlund’s film out on a high note.…
My Imaginary Country finds Guzmán contending with nostalgia for perhaps the first time, and the resultant film isn’t quite sure how to handle this pivot.…
The Silent Twins flattens any psychological depth found in its characters and suffers from a directorial style mismatched to the content at hand. The story…
Cousins’ latest The Story of Film entry largely trades in hyperbole, platitude, and bland observation, rendering it little more than a 150-minute trailer binge. For many…
Ozon’s frivolous Fassbinder homage doesn’t quite engrave much that is substantive or memorable. Rainer Werner Fassbinder’s tragically short and tormented life has been the subject…
Three Thousand Years of Longing presents a fairly stimulating academic study in its early going, but ultimately fails to balance its conceptual and emotional aims.…
Like most of Yuasa’s feature-length works, Inu-Oh lacks the dimension of his small screen output, and indulges the director’s sloppiest storytelling instincts. Masaaki Yuasa simply…
Sharp Stick is a more specific work than much of what Denham has produced in the last decade, but it’s hindered by an awkward, shaggy structure…
Ali and Ava is a more formally restrained work for Barnard, but one imbued with limitless compassion and hardscrabble authenticity. Clio Barnard’s 2010 debut film…
Marx Can Wait is a beautiful late work from an artist still pushing the limits of his self-exploration. One of the great canonical directors of…