A Girl Missing establishes Kôji Fukada as a strong imagemaker, but the film’s weak script weighs things down. If nothing else, A Girl Missing demonstrates yet again…
The Wild Goose Lake is a thrilling neon noir and incisive commentary on the degradation that comes with rapid economic boon. There’s a particularly pleasing synesthetic…
A White, White Day is an uneven story of overcoming trauma that fails to muster the requisite pathos for its thematic material. Iceland’s Oscar entry this…
Bonello’s attempt to meld cultural commentary with a historical consideration of colonialist sins is lost amid a commitment to tension-building. Voodoo, as represented in Zombi Child,…
So what exactly ‘begins’ in Philippe Lesage’s Genesis? That’s a question that’s almost too deceptively simple to answer: love, of course (the film’s poster even…
“Sensuous,” “gorgeous, “evocative” — such descriptors are perhaps too easily applied to Ash Mayfair’s The Third Wife, a film that, from its opening frames, seems…
Vacillating between brutality, mysticism, and comedy, Rungano Nyoni’s I Am Not a Witch offers a cinematic approximation of a traditional African fairy tale; it tells the story…
From the title alone, Hirokazu Kore-eda’s follow-up to After the Storm is unlikely to elicit the usual comparisons to Ozu; broadly speaking, The Third Murder…
Some fathers are born, some are made, and some were never meant to be. Jorge Machado, a Mayan fisherman, was evidently born to be a…
To term something a “festival film” can be patronizing — it pigeonholes a movie as one with very limited audience appeal. These are usually from…