Although his name may be unfamiliar to some, Chinese director Wei Shujun has already made several feature films, including 2021’s Ripples of Life, which…
Slow, Marija Kavtaradzė’s second feature film, finds solace in the physicality that builds a world around its audience. The opening moments find a man…
In 2000, Swedish director Roy Andersson premiered a film entitled Songs From the Second Floor. In a series of stationary camera set-ups, the film…
Director Kiohara Yui’s last feature, Our House — which debuted in 2017, and which this writer briefly reviewed here at InRO when it played…
The great Jia Zhangke is listed as a co-producer on Kavich Neang’s new film White Building, a sensitive coming of age story that nonetheless…
As its title would have it, Plan 75 has a broad purview over the implementation and implications of its alternate, not-too-distant future. In this…
El Gran Movimiento offers a thoroughly idiosyncratic and elliptical approach to the city symphony, one rooted in character and in which the spirit of…
The competing modes of The Tsugua Diaries result in the sense of one film slapped upon another, Gomes’ adventurousness sacrificed in the name of the contemporaneous.…
A smoothly stitched assemblage of narrative and documentary modes, Wood and Water rides a sedate wavelength to effortless but earned poignancy. The most endearing moments of…
The Witches of the Orient once again testifies to Faraut’s facility with crafting surprising, poignant sports docs with plenty of formal character. It’s exciting to…
Spring Blossom feels under-realized on the whole, but at least introduces a distinct authorial voice worth following. Part of the official selection at this year’s…
Hope is an emotionally brutal, bruising film about the tricky territory that comes between love and loss. Hope is the kind of film that,…
The Fever has plenty on its mind and is considerably weighty in its own right, but feels somewhat too indebted to obvious, superior arthouse touchstones.…
Just Don’t Think I’ll Scream isn’t the exercise in solipsism or self-serving appropriative art its premise threatens, but its overall effect is one of cautious…
To the Ends of the Earth is a masterwork of adventurous, boundary-less filmmaking. Kiyoshi Kurosawa has been here before. Not to Uzbekistan, where his newest…
Fire Will Come retains a kind of documentary-based fascination even as it becomes clear capturing the titular blaze was the only real objective here. Oliver…
The Wolf House is a darkly magical fairy tale of arthouse cinema. To describe a film as magical may be a usually empty judgment,…
Nikolaus Geyrhalter’s latest is a rhythmic, matter-of-fact portrait of economic compromise. Nikolaus Geyrhalter’s Earth, from the outset, frames its massive landscapes as sites of…