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 virtues of Danish director Nikolaj Arcel’s new feature, The Promised Land, are those of old-school Hollywood studio pictures. The film is scrupulously well-constructed in…
When Wim Wenders’ Perfect Days was announced to play in competition at this year’s Cannes Film Festival, his first since 2008’s totally forgotten Palermo Shooting,…
MMXX Few directors have explored the implications of real-time continuity — or a reasonable approximation thereof — as resolutely as Romanian director Cristi Puiu. From…
Few directors have explored the implications of real-time continuity — or a reasonable approximation thereof — as resolutely as Romanian director Cristi Puiu. From his…
After his disappointing 2021 film The Restless, a film in which a story of an artist’s manic episodes mostly provided an opportunity for actorly histrionics,…
An artist and documentary filmmaker, Eléonore Saintagnan makes her feature debut with Camping du Lac, although such a biographical description does little to adequately describe…
Nicole Midori Woodford’s Last Shadow at First Light occupies an exasperating middle ground between heartfelt sincerity and hoary cliché, exploring generational trauma and survivor’s guilt…
The Delinquents Blanket declarations about three-hour-plus runtimes always seem curious when filmmakers employ said length for wildly different purposes. Though the sweeping epic may be…