“Welcome to the new West,” in which teenage rodeo riders with undercuts listen to cloud rap and horses are sold on TikTok. In East of…
It’s always fortuitous for a documentary filmmaker to find themselves able to capture seismic historical shifts as they are happening. But of course, this is…
Given the muted critical response and prolonged time period between its festival premiere and eventual (limited) distribution, the new Olivier Assayas film has apparently been…
While at 5’5” both he and Woody Allen are the same height, Roman Polanski stands tallest on the Mount Rushmore of reviled living filmmakers. As…
Dry Leaf Seeking to reduce a filmmaker’s chief thematic preoccupation is usually a waste of time, for any one worth their stuff works in a…
Genndy Tartakovsky has earned the one for him. As creator of some of the most seminal animated television of the late ‘90s and early 2000s,…
Peter Fonda’s self-produced Idaho Transfer (1972) exists online as a decrepit VHS rip and a few equally shoddy digital re-uploads. I’ve heard tell of an…
In the intro to My Undesirable Friends: Part 1 – Last Air in Moscow, director Julia Loktev states that none of the subjects or herself…
On the basis of his two solo outings as a writer-director, the filmmaker Zach Cregger has established a bit of a lane to himself in…
Obex One of the least consequential but more intriguing facets of our age of technology acceleration is watching which flavor of tech nostalgia will be…
Almost as if it were made in response to John Krasinski’s IF, a saccharine fantasy about a motherless young girl who through magical contortions was able…
Blue Heron Sophy Romvari has used cinema to mine the fractured, seemingly incomplete nature of her family history since her first short film, Nine Behind.…
By 1919, 24-year-old Richard Barthelmess was already a star. He’d just played the leading man, albeit in yellow-face, in D. W. Griffith’s Broken Blossoms opposite…
The House with Laughing Windows (1976) — Pupi Avati Giallo, the popular genre of Italian horror, can in truth be many things, though it tends…
When Robert Mitchum’s Jeff McCloud declared “Guys like me last forever” in Nicholas Ray’s Depression-haunted contemporary Western The Lusty Men (1952), it was hardly the…
In “The Evolution of the Language of Cinema,” André Bazin famously argued that depth-of-field marked a dialectical leap forward in the development of the artform.…
Those who have seen the Zürcher twins’ other works, The Strange Little Cat and The Girl and the Spider, may have felt a tension building…
The story of Souleymane (Abou Sangare), a Guinean immigrant fighting for the right to work legally in France, has lately been told millions of times,…
Greek filmmaker Athina Rachel Tsangari’s work has always defied easy classification. In Harvest, her fourth and most ambitious feature, villager accents and clothing, along with…
Athina Rachel Tsangari’s newest film, Harvest, begins on the precipice of change. Based on Jim Crace’s novel of the same name, Tsangari’s adaptation is set…