NAZA is a film so powerful and so utterly terrifying that it should be watched by everyone. And still, it would feel wrong to slot…
As a certain theory of Baudrillardian post-intellectualism would have it, we now live in what could be referred to as an “anti” age — an…
Because of its ability to replicate life, the cinema has long been a preferred medium for exploring the meaning of death. People die in films…
Identical twin sisters — so closely connected that they speak in unison, dream the same dreams, and furiously love the same man — dig a…
“Four years have passed since the accident. You feel that your relationship to radioactive contamination is changing,” intones the narrator near the beginning of Ana…
Schematically, one could divide Hong Sang-soo’s oeuvre into two sets of films: on the one hand, those where the structural play with narrative is upfront…
The critical concept of intersectionality, like “wokeness” or “critical race theory,” has been evacuated of its actual meaning by bad-faith bloggers and the conservative commentariat.…
The main narrative engine, if there’s any to speak of, in Serra’s only other documentary, Afternoons of Solitude, was about trapping its subject in three…
If you were to flip past Marine Atlan’s film La Gradiva on TV (which used to be a thing you could do), you might think…
For a viewer who is familiar with Angela Schanelec’s cinema, in particular the three films she has made over the last 10 years, My Wife…
A longtime favorite filmmaker at InRO, this writer had only seen one work by Nicolás Pereda, Minotaur (2015) — a surreal exploration of stasis and…
Like few other working filmmakers, Ted Fendt has created for himself a functioning cinematic universe, full of characters seeking creative and intellectual stimulation and answers…
Reverberation usually describes the phenomenon of a reflected and delayed sound impulse that, attenuated to the perceiving ear, has diverted into different manifestations from its…
Hidden in a nook of the Île d’Yeu cemetery, the grave of Marshal Philippe Pétain has grown into a symbolic site of contention for the…
Cannes seems to have settled into a kind of violent habit: slotting a promising film by a female auteur into its tail end. This year’s…
A presupposition of Bruno Dumont’s cinema is that the bare world into which we enter is circumscribed by moral order. This should not be confused…
The profane and the sacred prove fairly close in Sompot Chidgasornpongse’s 9 Temples to Heaven. One need look no further than the premise of the…
For the first time in his feature career, Cristian Mungiu has shifted his critical gaze from Romania to its western neighbors. A Cannes luminary par…
As landmark movies go, Lisandro Alonso’s 2001 debut Freedom could hardly have been less fitting. A documentary/fiction hybrid chronicling one day in the life of…
Long before Russia commenced its full-scale invasion of Ukraine in the winter of 2022, preeminent cineast Andrey Zvyagintsev already saw dark clouds gathering over his…
Sometimes the first shot of a film tells you enough to know you’re in the hands of a great director. Arthur Harari’s The Unknown —…