Walk Up is Hong Sang-soo’s trickiest film since The Day After (2017), and his most intricately structured effort since The Day He Arrives (2012).…
On the occasion of him winning the Palme d’Or at the 2018 Cannes Film Festival for his film Shoplifters, I called Hirokazu Kore-eda “the…
The Novelist’s Film feels more diaristic than anything Hong has made before and results in what’s arguably his most emotive and personal film. One of…
All That Breathes offers a cogent diagnosis of our climate change predicament, suggesting a tentative hope for the future while recognizing the untenability of…
Festival omnibus films are always a dicey proposition. Collections of films from various directors are inevitably going to be uneven in quality, tone, and…
Iranian cinema, as presented to the larger world over the past four decades, has mostly been based on a Bazinian commitment to observable reality.…
Huang Ji is among the last handful of Chinese directors to sneak through the portal distribution company dGenerate Films, the center of an important…
In an interview with Michael Guarneri, Lav Diaz states quite emphatically that “tragedy and suffering are an inherent part of man’s existence and death…
Competitive speed stacking — a sport that involves stacking specially designed cups in predetermined sequences as quickly as possible — is the eccentric pastime…
Blue Island is a similarly interrogative work to the director’s Yellowing, but here taking on a grander and more experimental form. Chan Tze-woon’s Yellowing…