One must marvel at Travis Scott’s dramatic cultural ascendancy. The 28-year-old hip-hop artist currently operates in the highest strata of pop stardom, put there…
With Ana, Mon Amour, director Calin Peter Netzer is desperately trying to align himself with the great figures of doomed romantic cinema, from Rivette and…
Our fifth dispatch from the 2019 Toronto International Film Festival (here’s our first, our second, our third, our fourth) tackles some of the fall’s…
Our fourth dispatch from the 2019 Toronto International Film Festival (here’s our first, our second, and our third) skews heavily Canadian: Atom Egoyan’s latest,…
Our third dispatch from the 2019 Toronto International Film Festival (here’s our first, and here’s our second) includes more TIFF world premieres than any…
Our first dispatch from the 2019 Toronto Film Festival (which runs from Sept. 5 – 15) finds us finally catching up with a lot…
Dividing Stephen King’s sprawling novel of repressed childhood trauma and inter-dimensional evil clowns into two parts not only made it easier to streamline It’s…
The Satanists in Hail Satan? don’t actually worship the devil, but it’d be a lot cooler if they did. Instead of ritualistic blood sacrifices and black…
Set in the remote valley of Qadishi, in Northern Lebanon, Abbas Fahdel’s Yara is a limited, if verdant vision of quotidian life. Centered on…
If José Luis Guerín’s In the City of Sylvia (2007) were reconceived as a contemporary gay drama, its opening might look something like the…
What You Gonna Do When the World’s on Fire? is a documentary with an almost confounding resolve to simply document. Given the subject matter…
There’s been an interesting spate of feminist, or at least female-led, westerns recently; there’s Tommy Lee Jones’s The Homesman, a dark film that suggests the…
It shouldn’t surprise that a documentary tackling China’s population-curbing one-child policy, effectuated in the late 1970s and lasting until 2015, provides innately dramatic material,…
A religious drama set among the Pentecostal snake handlers of Appalachia, there are any number of paths that Them That Follow could have taken…
Serbian director Ognjen Glavonic’s The Load is so minimal and austere that its title – nominally referring to the cargo carried in the truck…
Argentine director Mariano Llinás’s La Flor is a project ten years in the making, and an ode to the sort of movies that filmmakers…
More sentient discourse than credible drama, Julius Onah’s Luce frankensteins together a collection of button-pushers: issues of race, class, privilege, elitism, tokenism, essentialism, free…
So what exactly ‘begins’ in Philippe Lesage’s Genesis? That’s a question that’s almost too deceptively simple to answer: love, of course (the film’s poster…