Evil Does Not Exist is the sort of film one makes after winning an Oscar. Following the massive success of Drive My Car, which has…
**The following discusses the endings of Monster and Evil Does Not Exist. “Movies are the most powerful empathy machine in all the arts,” Roger Ebert…
MMXX Few directors have explored the implications of real-time continuity — or a reasonable approximation thereof — as resolutely as Romanian director Cristi Puiu. From…
Given his recent critically and commercially successful, Oscar-winning film Drive My Car, it was only a matter of time before Japanese arthouse director Ryusuke Hamaguchi…
#6. Visual rhymes preside over the three, tenuously interlinked sections of Ryusuke Hamaguchi’s Wheel of Fortune and Fantasy, drawing parallels across earthbound stories that have the…
#3. Of all the innumerable gambits and devices that Ryūsuke Hamaguchi deploys in his immense Drive My Car, his particular use of language may be the…
And with that, our Top Films of 2021 coverage comes to a close, with our five favorites talked up below. All films, even if we…
Our favorite film of 2021 looms near, but we’re not quite there yet. Today, we’re talking picks 6-10, which is probably the most Hollywood-heavy section…
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…
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…
Drive My Car Ryusuke Hamaguchi has fast become one of the more dependable filmmaker’s regularly working the international festival circuit, ever since he broke big…
Introduction It’s somewhat reductive to observe that Hong Sang-soo, so often noted for his diptych structures, seems to have moved into a new triptych phase…
The Last Word from Your Editor, Sam C. Mac: With the 2010s officially over, the time seems right for another departure: after 12 years (with…
The Last Word from Your Editor, Sam C. Mac: With the 2010s officially over, the time seems right for another departure: after 12 years (with…
It’s been a year of confrontation at the movies, as the domestic and international conflicts of the past several years have reached varying degrees of…
We’ve decided to do something a little different this year for our 2019 (so far) lists; instead of a formal poll, were using this as…
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 some…
Ryusuke Hamaguchi’s intimate epic of friendship between women, Happy Hour, was my favorite film of 2016, so needless to say Asako I & II, which…
Our third dispatch from the Toronto International Film Festival (here’s the first and here’s the second) includes our takes on a few hold-overs from this year’s Cannes slate…
It’s heartening to realize that in a year of seemingly constant death—one in which the passing of great filmmakers was no exception—the best films here seemed intent on…
Our top 25 performances, before whittling it down to the 10 you’ll find below, featured votes for two actors from Manchester by the Sea, two from Toni Erdmann,…