Resurrection is a haunting work of psychological brutality, far superior to the metaphor-heavy trauma horror it’s being incorrectly lumped in with. Rebecca Hall has steadily…
Ali and Ava is a more formally restrained work for Barnard, but one imbued with limitless compassion and hardscrabble authenticity. Clio Barnard’s 2010 debut…
For a brief period of time in the early-to-mid 2000s, there was perhaps no more exciting international director than Bela Tarr. Advocates like Jonathan…
A dark night of the soul that gradually metastasizes into a howl of impotent anger at life itself, Mitchell Stafiej’s The Diabetic follows 30-something…
Edward Yang’s 1986 film Terrorizers is an opaque, elliptical portrait of overwhelming ennui in a then modern-day Taipei, and one of the earliest examples…
Glasshouse is a heady, challenging treatise on the nature of memory, its rippling interpersonal effects, and ultimately a horrifying study in survival of the…
When Jean-Luc Godard launched the experimental Dziga Vertov Group with Jean-Pierre Gorin in 1968, one of their primary concerns involved creating radical texts that…
Dawn Breaks Behind the Eyes doesn’t exactly add up to much, but it’s a viscerally wild ride of psychedelic visuals and ominous vibes for those…
A coming-of-age story about a sensitive, artistically-minded young man with filmmaking aspirations sounds like a recipe for mawkish solipsism, so it’s nothing short of…
The Other One is an overcomplicated affair, but also a hyper-stylized and thrillingly violent one, and further proof that American blockbuster cinema is lagging. Released…
Artist and critic Fred Camper once called Howard Hawks (and I’m paraphrasing from memory here) the “hardest to define of all the classic Hollywood…
Family Dinner, Austrian filmmaker Peter Hengl’s feature-length debut, has one insurmountable problem — it hews so closely to the folk-cult horror handbook that anyone…
Natalia Sinelnikova’s We Might As Well Be Dead begins with a bedraggled family slowly traversing a long road through dense forest, a towering high…
Jonathan Rosenbaum is fond of quoting British critic and curator Michael Witt on Godard; Witt writes that “If Godard… has repeatedly suggested that the…
Crimes of the Future is a fascinating, ambitious project from Cronenberg, who readily sources his own career-long preoccupations in the creation of something that…
After Blue is a delirious visual experience, but Mandico stretches his few ideas far too thinly, resulting in a beautiful but repetitive trudge. Bertrand…
It’s a common misconception of auteurism that once a filmmaker has been so designated, every film by that particular artist suddenly becomes an unimpeachable…
With DASHCAM, Savage threads a tricky needle of Screenlife, first-person POV, and found footage cinema, but if you can vibe with the assemblage, there…