Archival footage of past conflicts between the North and South of Ireland accompany the opening credits of Irish director Cathy Brady’s politically-charged Wildfire, which…
Recent reports in the media that claim that the UK government is planning to house asylum seekers offshore come at a timely moment for…
Rose: A Love Story is yet another example of art-house horror that plays coy with its genre elements. It’s the kind of film that…
Following a trio of failed marriages, Jane Fonda famously later observed that the point at which she knew they were over was when she…
The third part of Ben Rivers’ so-called “sci-fi” trilogy, following Slow Action (2011) and Urth (2016), Look Then Below gives the unique impression of…
In his Metaphors on Vision, Stan Brakhage once called for us to “imagine a world before the ‘beginning was the word’,” and the jittery…
Glimpses from a Visit to Orkney in Summer 1995 is perhaps the most categorically detailed title that film diarist Ute Aurand has ever given…
Ukrainian director Sergei Loznitsa’s latest piece of archival “found footage” cinema would appear to have been taken straight from television. Edited together are a…
How does one give shape to one’s experience, one’s grief? The question persists through the films of Canadian director Sofia Bohdanowicz, though it takes…
There is a kernel of a good idea buried somewhere within the shitstorm that is the new horror-comedy It Cuts Deep. Unfortunately, writer-director Nicholas…
It’s hard to know what to make of Allison Chhorn’s new film The Plastic House, which plays equally like an experimental documentary and an…
It’s a bit dubious to sell Hopper/Welles as a newly discovered lost work from Orson, though one can understand how that might be an…
Raúl Ruiz has always presented a unique challenge to traditional film scholarship. With a vast filmography that spans decades, working in multiple countries, and…
A late-blooming filmmaker with admirably catholic interests, increasingly Catholic tendencies, and a rather revanchist reputation, Eugène Green, not unlike Éric Rohmer before him, is…
Filmmakers Anja Dornieden and Juan David González Monroy, who consider themselves purveyors of “expanded cinema” — a loose, catch-all term for video and performance…
The second chapter of Argentine director Nicolás Zukerfeld’s hour-long cine-essay, There Are Not Thirty-Six Ways of Showing a Man Getting on a Horse, is…
Fauna, Mexican-Canadian director Nicolás Pereda’s ninth feature, begins with that most familiar of low-budget indie-film setups: a pair of artists (actors in this case),…
Song Fang’s long-awaited second feature film premiered at Berlin shortly before the world it depicts completely fell apart. As such, it is the perfect…