Things have been building to this moment for a while, but ever since films like Julia Ducournau’s Raw crossed over to find a mainstream audience…
A dark night of the soul that gradually metastasizes into a howl of impotent anger at life itself, Mitchell Stafiej’s The Diabetic follows 30-something Alek…
The Mole Song: Final is the third and, well, final part of Takashi Miike’s Mole Song series about an undercover cop infiltrating the yakuza. It…
Edward Yang’s 1986 film Terrorizers is an opaque, elliptical portrait of overwhelming ennui in a then modern-day Taipei, and one of the earliest examples of…
Jeong Ga-young has spent the past several years carving out a space for herself on the fringes of the international festival circuit with films like…
Nounen Rena (Credited as Non) returns with her sophomore feature, writing, directing, and starring in Ribbon, a coming-of-age, Covid-set communion with the precipitate anxieties that…
Taiwanese-American filmmaker Arvin Chen’s previous two features, Au Revoir Taipei (2010) and Will You Still Love Me Tomorrow (2013), are light, bubbly, visually vibrant variations…
Mathieu Amalric has inarguably built up a CV of highly visible appearances over the past two decades, so much so that he’s comparable to fellow…
When Jean-Luc Godard launched the experimental Dziga Vertov Group with Jean-Pierre Gorin in 1968, one of their primary concerns involved creating radical texts that eschewed…
Andrew Infante’s Ferny & Luca is a first feature with a lot of places to get to. It briskly orbits around romantic ideas and images,…
It may be a hasty judgment, but as soon as we see a young woman painting on a canvas, smoking a cigarette positioned in the…
A coming-of-age story about a sensitive, artistically-minded young man with filmmaking aspirations sounds like a recipe for mawkish solipsism, so it’s nothing short of a…
While far from the first instance, Pratibha Pramar’s latest documentary My Name Is Andrea is one of the more high profile reclamations that radfem writer/orator…
The track record of measured, believable — let alone sympathetic — portrayals of mental illness on the big screen is spotty at best, oftentimes veering…
[NOTE: This review contains spoilers.] After having made three no-budget features with co-director Rodrigo Ojeda-Beck, Robert Machoian broke through in 2020 with The Killing of…
Within the steadily growing niche genre of Jewish horror, there are two key tales that have a hold over the imagination of filmmakers. With a…
Patrick Bresnan & Ivete Lucas’ documentaries have always gravitated toward the observational, content to let moments unfold in natural manners to reveal some truth about…
Nude Tuesday, it must be said, gets bonus points for creativity. In telling the tale of a long-married couple who attempt to spice up their…
Family Dinner, Austrian filmmaker Peter Hengl’s feature-length debut, has one insurmountable problem — it hews so closely to the folk-cult horror handbook that anyone who’s…
Natalia Sinelnikova’s We Might As Well Be Dead begins with a bedraggled family slowly traversing a long road through dense forest, a towering high rise…
Harkis is pretty much the sort of foursquare historical drama one would typically associate with Rachid Bouchareb (who was back in Cannes in 2022 with…