Sycorax is a fluid re-orientation of filmic and theatrical modes, a mostly successful attempt at contextualizing classic modes within a contemporary context. The vastly different…
Mariner of the Mountains is a beautiful family project that becomes diluted within the context of Aïnouz’s filmography, slowing the film’s considerable poetry. Per the film’s…
Summer of Changsa is an exercise in useless misery that feels lifeless from start to finish. Having premiered three years ago, all the way back at…
Deception should have been prime, loopy material for Desplechin, but instead remains frustratingly staid, only occasionally capturing the spark of his more personal material. A…
Adele Exarchopoulos makes this French import worth at least a couple fucks. The mid-midlife crisis genre has always been a bit of a mixed bag,…
It’s easy to ride Love After Love’s opulent wave of aimlessness for a while, but it eventually all becomes too exhausting. Love After Love is…
Feast exists in the liminal spaces between fact and fiction, a wholly original work that forces viewers to grapple with its themes in troubling, unexpected ways.…
Train Again is yet another bold, precise, and transcendental work from Peter Tscherkassky. As InRO contributor Brendan Nagle once observed, the image — 24 of them…
Great Freedom is a tender celebration of unconventionality, in all its complex and varied incarnations. Paragraph 175 was a provision of the German Criminal Code enacted…
Lingui is a middlebrow arthouse trifle that offends in its simplicity and deference to narrative convenience. Lingui, The Sacred Bonds, the latest from Chadian director Mahamat-Saleh…
Black Medusa is cast with a certain austere beauty, but is an otherwise empty exercise in bland, utilitarian form. In a thankless role as one of…
There Will Be No More Night is an intelligent, nightmarish portrait of war as first-person shooter and interrogation of how we consume visual information in our…
Katz’s film is an understated, elliptical work that speaks volumes in its pointed quietude. Ana Katz’s The Dog Who Wouldn’t Be Quiet appears at first…
The latest entry into the “quarantine art” canon, Project Space 13 is just another empty film with nothing substantive to say about our present moment.…
The Trouble with Being Born is remarkable not just for its futurism and ambient atmosphere, but for the care with which its relationships — not all…
Thy Kingdom Come feels like what it is — deleted scenes from (and a misapprehension of) To the Wonder rather than a supplement to its beauty.…
Accidental Luxuriance is a poorly-paced, rancid mixture of conflicting aesthetic elements. Far more than its rather nonsensical title and unconventional mix of animation styles, the general…
What Do We See, in its rejection of atomized systems of characterization and narrative, offers a kinder, more free-spirited form of cinema. Alexandre Koberidz’s first…
Endless Night is a film of well-meaning political engagement that succeeds only at conveying the intentionality of its aims. Endless Night falls into a recent spate…
Lucky Chan-sil is a delicate, deeply humanist film superbly anchored by Kang’s lead performance. “If you do what you love, you’ll never work a day in…
Fucking with Nobody is a radical, playful bit of meta-comedy that executes its risky conceit with aplomb. For her sophomore feature, Fucking with Nobody, Finnish director…