Drive My Car is the latest proof that Ryusuke Hamaguchi is thinking much bigger than most of his contemporaries. Ryusuke Hamaguchi has fast become one of…
The Power of the Dog gains considerable power in its back half, but Campion ultimately leaves too much simply twist in the wind. The narrative of…
Bad Luck Banging borders on the didactic, but smartly allows its archetypes to conflate and contradict, turning its sketchbook designs into a platform for equal-opportunity…
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…
Passing’s insularity is both a blessing and a curse, but its internalized emotions simmering just beneath the surface manage to speak volumes. Based on the…
After Asako I & II, Hamaguchi’s latest can’t help but feel like something of a step backward into less aesthetically daring filmmaking. “Once Again”, the third…
Bergman Island is an intentionally ephemeral, frictionless bit of meta-fiction, conceptually justifiable but all the more frustrating for it. Mia Hansen-Løve’s Bergman Island is, quite literally,…
Titane admirably reconciles opposites and piles on texture and sensation, but ultimately reveals itself far too content to trade only in cliché. What is the role…
Vika Kirchenbauer effectively established herself on the international experimental scene with her short Untitled Sequence of Gaps, from last year, an intriguing rumination on varieties of light…
The winner of FIDMarseille International Competition, as well as the recipient of its Best Actress award in that category, Haruhara San’s Recorder proves an appropriate…
Jean-Gabriel Périot’s films center around archival footage, crafting stories from multimedia video and grafting them in and out of multiple contexts. Best known for the…
Retreating from the weight of actions into the weightlessness of words, Denis Côté’s latest finds a rambunctious solace in the oratorial. Serving possibly as a…
At this late stage in the coronavirus pandemic, it’s no surprise that the first of presumably plentiful documentaries devoted to the topic have begun to…
Of Stan Brakhage’s ephemeral Desert, Fred Camper once wrote that “large and small, and inner and outer, worlds dance about each other in a kind…
The Souvenir is that rare kind of great film, one that teaches you how to watch it as it goes on. There’s a constant tension…