If there’s one all-too noticeable thread running through this year’s Sundance slate, it’s the presence of an unofficial COVID-themed lineup set apart by their incidental,…
It seems only appropriate that Wong Kar-wai would lend his name as producer to One for the Road, an epic melodrama from Thai director Nattawut…
Knocking, a psychological thriller of sorts that details one woman’s deteriorating mental state as she’s driven mad by mysterious noises emanating from the apartment above…
In 1971, after being cast in legendary filmmaker Luchino Visconti’s Death in Venice, 15-year-old Björn Andrésen was thrust into international fame after the director declared…
Nasir is a delicate, disquieting film that opens up into something far grander than its brevity and slice-of-life template would at first suggest. What’s immediately striking…
Window Boy Would Also Like to Have a Submarine thankfully manages to avoid status quo filmmaking but still feels somehow unfinished. There seems to be a…
The Mole Agent’s overly complicated setup and unnecessary dramatic flair detract from what could have made the film great — the real people. The Mole…
BAFTA-nominated director Aleem Khan’s debut, After Love, has given a rare opportunity to Joanna Scanlan. Once known as a television actress, but more recently a…
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 addresses…
Recent reports in the media that claim that the UK government is planning to house asylum seekers offshore come at a timely moment for Ben…
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 wants…
Following a trio of failed marriages, Jane Fonda famously later observed that the point at which she knew they were over was when she began…
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 being…
In his Metaphors on Vision, Stan Brakhage once called for us to “imagine a world before the ‘beginning was the word’,” and the jittery intensity…
Glimpses from a Visit to Orkney in Summer 1995 is perhaps the most categorically detailed title that film diarist Ute Aurand has ever given one…
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 dozen…
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 most…
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 Santos,…
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 obscurantist…
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 enticing…
Raúl Ruiz has always presented a unique challenge to traditional film scholarship. With a vast filmography that spans decades, working in multiple countries, and using…