A deceptive airiness courses through No Love Lost, the sophomore feature from Erwan Le Duc — which follows his equally quaint and whimsical The…
Body doubles and deception have always been the fertile staples of romantic comedy — look no further than Shakespeare, who imbued such courtly antics…
Sadly, new romantic comedy About My Father is not a companion piece to Pedro Almodóvar’s magnificent All About My Mother, but instead an attempted…
A delicate and bittersweet queer coming-of-age film, A Song Sung Blue is also, unfortunately, weighed down by all the predictable beats that befall its…
In This Issue: FEATURES: CANNES FILM FESTIVAL: Monster (Hirokazu Kore-eda) by Lawrence Garcia // Only The River Flows (Wei Shujun) by Micahel Sicinski // Marguerite’s Theorem (Anna Novion)…
In 1972, struggling to follow up his generation-defining and career-redefining What’s Going On, Marvin Gaye had writer’s block. The ambitious concept album detailing the…
Karim Leklou has a fascinating face, a seemingly unremarkable assemblage of features that acts like a blank slate; it’s a Kuleshov-effect visage. Director Clément…
Trần Anh Hùng’s The Pot-au-Feu charts a romance between gourmet chef Dodin Bouffant (Benoit Magimel) and his cook, Eugenie (Juliette Binoche), in late 18th-century…
Radu Jude’s new short, The Potemkinists, finds the director in typically didactic form, which is one of his greatest virtues — why not say…
Typically, calling a film a faithful adaptation of its source material can constitute praise. It’s a signal of approval, a fan’s casual imprimatur. It’s…
“The place? New York City. The time? Now: 1962. And there’s no time or place like it.” Down With Love, Peyton Reed’s 2003 technicolor…
A high-angle shot of a yakuza and his girlfriend continues following the woman overhead as she crosses a street to a school swimming pool.…
Love Again sounds like a title where novelty goes to die, and the resulting film certainly does nothing to deviate from such lowered expectations,…
Shekhar Kapur’s What’s Love Got to Do With It? comes courtesy of Studio Canal and Working Title, two production companies who have created a…
Perennially undervalued, Joseph H. Lewis receives a single paragraph in Andrew Sarris’ canonical The American Cinema (relegated to the expressive esoterica category alongside Andre…
It’s easy to see into the future. All one has to do is see the present and ask what would happen if we accepted…
Part of what’s so great about the Prismatic Ground festival is that it makes space for genuine cinematic curios, works that are so sufficiently…
Alexandre Larose’s work is no stranger to the descriptors underlined by Impressionism, typically reflecting its aesthetic sensibilities of refracted, textured light. In fact, he…
The Marvel Cinematic Universe has done a great job of earning a reputation for grinding down the personalities of interesting directors-for-hire with endless tinkering…