Showing Up Despite the steady repetition of themes that define Kelly Reichardt’s filmography (alienation, class, gender, the American West), her output has remained surprisingly…
The Last Word from Your Editor, Sam C. Mac: With the 2010s officially over, the time seems right for another departure: after 12 years…
OK, so things don’t really vanish anymore: even the most limited film release will (most likely, eventually) find its way onto some streaming service or into…
Noah Baumbach doesn’t like risk. Even when his films are impressive — and they often are — their formal parameters remain fairly limited. His…
Our fifth dispatch from the 2019 Toronto International Film Festival (here’s our first, our second, our third, our fourth) tackles some of the fall’s…
The finest films of 2017 simultaneously offered us a respite from, and a deeper reflection on, our fraught and fractured social and political realities.…
Fitting snugly into Noah Baumbach’s tragicomic oeuvre, The Meyerowitz Stories (New and Selected) approaches dysfunctional families with the same intuitive understanding of complex interpersonal…
In our third dispatch from this year’s New York Film Festival (the first is here, second here): the “director’s cut” version of Arnaud Desplechin’s sprawling career summation, Ismael’s…
Comprised of almost nothing but movie clips and interview footage, De Palma features none of its subject’s formal innovation, and so it’d be easy to…
Noah Baumbach’s Greenberg opened with Greta Gerwig’s character, a young woman working as a wealthy man’s personal assistant, trying to merge into traffic, saying “Are you…
With a film festival as stacked to the gills as the TIFF, thematic trends are bound to pop up. Last year, doppelgängers appeared to…