Having seen all six Currents shorts programs at this year’s New York Film Festival, Program 3: Surface Noise emerged as the most successful of the…
Alex Serian has been away for a long time. At the start of Tony Gilroy’s Behemoth!, the gifted cellist (played with great commitment by Pedro…
There is a certain expectation that comes with a film’s selection for the Currents section of the New York Film Festival, not least because the…
It’s taken a while for cinephiles (including this writer) to catch up with the Vienna-based filmmaking duo of Tizza Covi and Rainer Frimmel. Their profile…
Rare is the film that earnestly inspires you to hold your loved ones closer. Rarer still is the film that does so while making room…
Whatever one thinks of Carlos Reygadas, it’s hard to argue against his ability to open a movie. His newest film Heil Jupiter!, largely spoken in…
The post-Drive My Car films of Ryûsuke Hamaguchi have built a case for the director as the most acclaimed contemporary filmmaker in the world. Even…
“Cinema has something premonitory about it,” says Elsa (Bárbara Lennie), the cult director-turned-adman at the center of Bitter Christmas. It’s a statement director Pedro Almodóvar…
“Is there even a suspect? Is there even a crime?” These words spoken by Detective Mijares (Alchris Galura) are as good a summation as you’re…
Every time a Hong Sang-soo film plays at a film festival, one can assume someone in the audience is encountering the prolific filmmaker for the…
It is perhaps inevitable that a higher number of films are going to be focused on the difficulties of aging as birth rates decline and…
Shin Godzilla exists in a class of its own, nearly experimental in its focus on political red tape in the face of a developing catastrophe,…
Andrew Haigh has proven adept, at times exceptionally so, at crossing diverse conceptual landscapes. His relationship dramas, of both the young and queer (Weekend, Looking,…
Virginia Woolf’s seminal novel Mrs. Dalloway is a daunting candidate for cinematic representation, relying as it does on the detailed evocation of the inner lives…
For the past decade, James Gray has been talked about in cinephile circles as the last great American (neo-)classist, the only auteur effectively continuing to…
“My father said you got to swallow your feelings.” Jimmy George, the fictional actor at the center of Ira Sachs’ new film The Man I…
In his rather humbly titled “Autobiographical Notes” that appeared in the New Yorker in 1970, Jorge Luis Borges recounts the day in 1935 when, from her deathbed, his paternal grandmother Frances Haslam — “a respectable English lady” from the West Midlands — told her “Georgie” and the gathered family: “‘I am only an old woman
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“Fleet Flick From Fleet Street!” That could be the Sun headline for Danny Boyle’s boisterous adaptation of James Graham’s 2017 play about the transformation of…
The title of Shinya Tsukamoto’s latest foray into historical war drama comes from a question asked by a child to a Vietnam War veteran. Allen…
The dovetailing of a post-Free Solo film landscape with the advent of a mass production, streaming-focused documentary apparatus — exacerbated by the home-viewing requirements and…
How to escape from the bottom of the barrel? In Ferit Karahan’s Djinn Wedding, a family in desperation moves into an abandoned house in rural…