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 concerned…
Filmmakers Anja Dornieden and Juan David González Monroy, who consider themselves purveyors of “expanded cinema” — a loose, catch-all term for video and performance art…
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 a…
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), Paco…
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 film…
Like R.W. Fassbinder’s Berlin Alexanderplatz, Under the Open Sky opens with an aging man being released from prison after serving thirteen years for murder. During…
Inconvenient Indian succeeds where so many other documentaries fail — namely, in justifying its existence as a visual text. At first, Michelle Latimer’s documentary exhibits…
Japanese zombie comedy Get the Hell Out, which also peppers in plenty of political commentary, wears its obvious influences like a badge of honor: some…
Think Spotlight but shot by Yu Lik-wai, Jia Zhang-ke’s favorite DP. Sounds pretty neat, right? And for a while, The Best Is Yet to Come…
Miyamoto hopes to manifest the power of a pendulum hanging over one’s head — swaying, seeking a point of equilibrium. That pendulum is morality: At the…
Godard’s famous axiom (by way of D.W. Griffith) about a girl and a gun being the essential elements of a movie is given a very…
In the rarefied world of slow cinema — the kinds of films that flourish at film festivals but with limited commercial prospects outside those specialized…
In recent years, Venezia has been a strong catalyst for auteurs to premiere some of the year’s most internationally acclaimed films. While Daniele Luchetti’s The…
The best thing one can say for Claudio Noce’s Padrenostro is that its narrative is well-intentioned. The film attempts to reckon with the lingering effects…
The new Australian western The Furnace opens with text explaining that, in the 19th century, the British government imported camels into the Outback, as they…
Bertrand Mandico made quite a splash with his first feature-length film The Wild Boys in 2018, but he’s been making accomplished shorts for well over…
After the international success of Asghar Farhadi’s socio-familial, “realist” dramas, there were a litany of Iranian films that tried to copy the winning formula of…
It’s unclear if the new film Gone with the Light is directly inspired by or otherwise wholesale lifting the premise of The Leftovers (both the…
Anthony Wong is an axiom of Hong Kong cinema, an iconic actor who has featured in every conceivable film genre and played every kind of…
Forgiven Children is a reactionary apologist’s straw man, an irresponsible configuration of centrist thought which aestheticizes and generalizes any viewpoints that would be positioned in…
Two very similar films in premise but vastly different in execution hit the festival this year. NYAFF is always a good home for Asian action…