A Paul Greengrass movie is a lot like finding yourself stuck next to a talkative history professor on a plane. Well-meaning, passionate, and rambling, you…
Kiyoshi Kurosawa is our great purveyor of modern ennui, a chronicler of creeping existential dread as the world we have created now threatens to engulf…
What is “Buzz”? The murmur around a popular film at Sundance? The alarm from an angry bee, fly, gnat? The sultry purr of a sex…
Hope, director Na Hong-jin’s first feature in a decade, is also his splashiest film. It first premiered in competition for the Palme d’Or at Cannes,…
Only his second feature-length film after maɬni—towards the ocean, towards the shore (2021), Sky Hopinka’s Powwow People is the director’s least tangibly experimental project to…
In Haitian Vodou, “turning someone into a zombie is like putting them back into slavery… forever.” This is among the opening lines of Maya Annik…
Guy Moshe is an Israeli-American filmmaker. This, under normal circumstances, is not information pertinent to a review, but regarding his latest, The Fix, it’s tough…
If Los Angeles is the land of struggling actors languishing in food service — the sitcom Party Down plumbed this phenomenon for three seasons —…
“How can the same shit happen to the same guy twice?!” That’s a line spoken by Bruce Willis as NYPD officer-turned-Nakatomi Plaza hero John McClane,…
Summer is closing. The weather remains warm, but the chill of autumn whispers its hello with a breeze that reminds us of time’s passing. It…
It’s overselling Mayday a bit to suggest that it could have been made and released in 1987, when it takes place. That said, it’s rather…
There aren’t enough filmmakers, perhaps, still afraid of Virginia Woolf. Tina Gharavi, whose film I Am Nasrine was smuggled out of Tehran before being nominated…
Whether she was shooting her sexual experiences with lovers, the social and political climate of cultural feminism, or an ultimately fatal battle with ovarian cancer,…
With an education system as corrupt and ineffectual as that of the United States, stories of real teachers making a genuine difference are few and…
Even when Jorge Luis Borges wrote screenplays, they weren’t necessarily “Borgesian” — not, that is, distilled into the particular pleasure of following one of Borges’…
“Consequently, Twenty-Four Eyes, which was made by Kinoshita Keisuke in 1954, is clearly a Japanese film,” says Nagisa Oshima, “but the Twenty-Four Eyes made in…