In a 2021 Bomb Magazine interview with RaMell Ross, filmmaker Turner Ross articulates the method that he and his brother, Bill, utilize when embarking upon…
With Yannick, filmmaker and absurdist Quentin Dupieux has synthesized the irreverent, a product of his usual gags and conceits, and the satirical, afforded by his…
To the uninitiated, written descriptions of Radu Jude’s cinema might give the wrong impression of his films as dizzyingly dialectical exercises requiring a complete working…
Vacation in Malia on the Greek island of Crete, a British tourist hub that might as well be hedonism incarnate, doesn’t end well for the…
A lush, elemental reckoning unfurls across the relatively condensed runtime of Felipe Gálvez Haberle’s debut, The Settlers, even if few of its proceedings strictly qualify…
Finnish director Aki Kaurismäki’s latest film Fallen Leaves is a continuation of his Proletariat series. The previous films — Shadows in Paradise (1986), Ariel (1988),…
When Wim Wenders’ Perfect Days was announced to play in competition at this year’s Cannes Film Festival, his first since 2008’s totally forgotten Palermo Shooting,…
Blanket declarations about three-hour-plus runtimes always seem curious when filmmakers employ said length for wildly different purposes. Though the sweeping epic may be the most…
Consistently divisive and successfully provocative, Sebastián Silva had existed in a seemingly charmed space — relative to that of the average, contemporary independent filmmaker —…
With Passages, American indie filmmaker Ira Sachs builds on the not-unexpected Euro-arthouse move he made with 2019’s underwhelming Cannes competition swing Frankie, which threw a…
“Girlfriend” — whether the companionship implied is defined via romantic means, as a partnership, or via an external projection of friendship, the term is more…
Killing, at first glance, can seem something of a left-field move for cult director Shinya Tsukamoto; it’s a slow-paced period piece that expends nearly an…
David Lynch, a filmmaker with an oeuvre so inimitable and a style so recognizable that he is one of a handful of directors whose last…
The way in which people interact with the archaic or outmoded is an ever-evolving proposition. Especially given the unbelievable pace of the 20th and 21st…
One of the biggest pitfalls of depicting and representing trauma arrives precisely and most insidiously in what appears to be its greatest strength: by grafting…
Those about to eulogize reach for poetry; for anyone, mourning periods commingle, confuse, and unpredictably change one’s experience of time. But in Christophe Honoré’s Winter…
Every weekday, middle-aged legal worker Andrew Rakowski gets in his car and commutes home through suburban Melbourne: and indeed, this constitutes the vast bulk of…
An overhead shot tracks a car’s snaking glide down a mountain road as a turquoise lake looms below. Credits appear, and the score begins to…
Skinner Myers’ feature debut is a serpentine construct, a vision of subjectivity that embraces both virtuousness and transgression, emphatic in its depiction of self-destruction. The…
From the first frame of Alcarràs, Carla Simón alerts the viewer to the integrality of the summery Catalonian landscape of her film. Within these windswept…
It takes a kind of charming naïveté these days to purport to represent the vagaries of sexuality onscreen without so much as a sideways glance…