Maybe Our Land, Lucrecia Martel’s new film, reminds me of Edits, Chuquimamani-Condori’s 2025 laptop dump of DJ edits, simply because I listened to the latter…
At the beginning of Lucrecia Martel’s first feature-length documentary, Our Land (originally titled Landmarks), we’re presented with satellite images of Earth. From this zoomed out…
Dracula Radu Jude is aiming for nothing less than the grand finale of vampire movies with his Dracula, and as a Romanian, why shouldn’t he…
Master Gardener In hindsight, Paul Schrader’s career has been a repeated jettisoning and reappropriation of extraneous artiness, new off-kilter filmic shapes of inscrutable quality emerging…
Camarera de piso — Lucrecia Martel’s latest short, commissioned as part of The National Autonomous University of Mexico’s Síntesis project — comes with a curious…
The Novelist’s Film One of the most pleasurable ways to engage with a Hong Sang-soo film is to consider the similarities and differences between each…
Antonio di Benedetto’s novel, Zama, is renowned for its simplicity, with most paragraphs a mere sentence in length; Lucrecia Martel’s film adaptation is full of detail. Where…
Yesterday, we presented our Top 10 Albums of the Year (So Far). Today, we do the same for film — which also gives us the chance to…