The erotic thriller has encountered a resurgence in popularity of late, partly due to how well the genre plays at home, making it ideal…
Following Red Rocket in 2021, Anora marks Sean Baker’s second straight feature in competition at Cannes, and this one comes with reports of packed…
Not that every filmmaker is expected to prove their unique vision upon signing their directorial debut, but French-Greek actress and dancer Ariane Labed, unfortunately,…
Long heralded as the harbinger of snore-inducing boredom, slow cinema, in actuality, is a somewhat paradoxical replica of what film scholar Tom Gunning calls…
The fraternal duo of Arnaud and Jean-Marie Larrieu have been making films together for around 25 years. An early featurette of theirs, Roland’s Pass…
Once upon a time, there were frightened people. They were so frightened that their imagination escaped,” says a soothing, soft, and elderly feminine voice.…
Caroline Poggi & Jonathan Vinel are a contemporary duo whose work rebukes and inquires into the reactionary, philosophical response to an accelerated technological development,…
The title gives it away. Before one even begins watching Paul Schrader’s latest, the tone is effectively set by a little writerly in-joke of…
Following the critical success of 2018’s The Wolf House, directoral duo Cristóbal León and Joaquín Cociña have returned with The Hyperboreans, a papier-mâché melange…
If dogs run free, then what must be Must be, and that is all True love can make a blade of grass Stand up…
In Retreat, the debut feature from Iranian-born Ladhaki director Maisam Ali, is the sort of film one hates to be negative about. It’s made…
The Cannes Film Festival has a reputation (not entirely undeserved) for skewing its selections toward the more abstruse, audience-unfriendly end of the international cinema…
Writing on Jean-Christophe Meurisse’s Bloody Oranges back in 2022, InRO’s Matt Lynch described it as a “glib little attempt at satirizing The Way We…
In Western countries, the dailiness in those “lesser developed” ones has long been abstracted by a dearth of artistic and cultural diffusion from one…
Moral judgments in artwork tend to be tinged in shades of gray. This is sometimes expressed by citing Jean Renoir’s unofficial motto that “everyone…
The Shameless feels very much like an art-sploitation entry from the mid-’90s, when directors thought that a frank depiction of lesbian desire, in and…
Cordoned to a cultural temperament that favors realism, based-on-true-stories, and the animated mythologies of men and women who have walked among us, the biopic…
The depiction of grief in films is as variable as film form. It can be outwardly melodramatic like in Krzysztof Kieślowski’s Three Colors: Blue…