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…
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…