A favorite of the Cannes selection committee for the last 20 years or so, Austrian filmmaker Jessica Hausner has enjoyed a semi-embattled relationship with attendees…
Writing about Ryuichi Sakamoto | Opus is a challenge, not least because of its stark minimalism. I can’t recall a concert film as ascetically committed…
Almost every program description or review of Alison O’Daniel’s first feature, The Tuba Thieves, including now this one, begins by noting that it is largely…
Larry Fessenden has co-starred in nine films between his last directorial effort, 2019’s Frankenstein riff Depraved, and his latest feature, Blackout. An elder statesman of…
The Holocaust has been mined for kitschy platitudes for a long time now. It seems that artists, against their best instincts, just aren’t able to…
Cinephilia is a dangerous game. Follow the director’s rules closely, and you are, more often than not, rewarded with insider access. These are reference points…
Well into his 70s and his fifth decade working among the most prominent figures in Sinophone cinema, Zhang Yimou continues with Article 20, a tragicomic…
There’s a difference between a breakfast of scrambled eggs (with sausage, tomatoes, and mixed peppers) and a proper omelet. The combination of the same ingredients…
Arriving less than a month after the release of Ethan Coen and Tricia Cooke’s queer crime-comedy Drive-Away Dolls, Love Lies Bleeding, from British filmmaker Rose Glass, signals…
People are increasingly alarmed at the prospect of AI infiltrating creative work, turning humans into unnecessary appendages in the process of making movies, art, music,…
When wielded effectively, isolation and fear of the unknown can be two surefire ingredients for a memorable horror experience. The former can create a perfect…
Writer/director Alice Maio Mackay is 18 years old; it seems almost obligatory that this be mentioned as her third feature film, T Blockers, premieres at…
Following nearly three years of an ongoing pandemic, everyone has a new understanding of isolation. After varying degrees of social distancing regulations and masking recommendations,…
The elevator pitch for Spaceman sounds like the wind-up to a bad joke. Here’s a somber metaphysical tone poem wherein a scrappy Czech space program…
Despite being full of traditional Western tropes — including images of riding horseback through the dusty American plains and violent shootouts in dingy taverns —…
The “social issue” film in contemporary Bollywood has as many forms of expression as it has sub-categories of issues. Take, for instance, the “women-centric” film.…
Dutch director Sacha Polak set a very high bar for herself with Hemel, her 2012 debut feature. Raw and at times agonizing, Hemel is a…
In Ghosts of My Life, the late writer Mark Fisher writes, about hauntology: “Those who can’t remember the past are condemned to have it resold to…
Keir O’Donnell is chiefly recognized as an actor, arguably best known for his supporting turn in 2005’s Wedding Crashers, in which he played a young…
Ah, just what 2024 moviegoers needed: another rural crime-thriller rumination on God, Family, and Violence. Red Right Hand, the latest from Ian and Eshom Nelms…
We return to the year 10,191 for Dune: Part Two, the cleverly named second half of Denis Villeneuve’s adaptation of Frank Herbert’s seminal, beloved work…