The great director Paul W.S. Anderson expressed irritation in his commentary track on Alien vs. Predator (2004) to the common descriptor used to label…
When was the last time you visited a foreign city and didn’t look up things to do? Didn’t crowd-source recommendations, rely on offline maps…
Following the success and acclaim of his reality-bending 1997 directorial debut Perfect Blue — a feverish take on the Giallo genre, filtered through a…
What’s in a name? Over the length of an intimidatingly monumental career, Seijun Suzuki gave us titles of great and peculiar beauty: Take Aim…
“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…
Since his breakout 1997 film Xiao Wu, Jia Zhangke has emerged as one of the most gifted artists chronicling life in 21st-century China. Three…
In an era when any slob with a next-day delivery synth can create bleep-bloops in their bedroom and go viral overnight, the musical and…
When Eazy-E departed our earthly realm, he left behind not just his own substantial body of work, but an entire, still-thriving record label with…
Christian Petzold is a serious, even formidable cinephile, but that shouldn’t be confused for humorlessness. His referentiality is streamlined and polite, endearingly obvious, but…
In 2003’s Goodbye, Dragon Inn, Tsai Ming-liang’s gentle ode to cinema, the Taiwanese director’s famously steady camera trains on a handful of moviegoers catching…
Purple Butterfly is a film of dreamy realism, sometimes insoluble and suffused with a haze that is, at once, sepulchral yet sultry — a film…
Even in his earlier, more relatively conventional films, Abbas Kiarostami always maintained an eye for radical formal experimentation. Close Up, for instance, is as…