At least a decade too late to cash in on the YA franchise craze, David Slade’s Dark Harvest sputters into a limited day-and-date theatrical/VOD…
Director/cinematographer/co-writer Baatar Batsukh ends his new film Aberrance with a dedication to Darren Aronofsky, acknowledging the former indie darling/now-Academy Award-winning director’s influence on Batsukh’s…
An artist and documentary filmmaker, Eléonore Saintagnan makes her feature debut with Camping du Lac, although such a biographical description does little to adequately…
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…
Bishal Dutta’s It Lives Inside begins on an appropriately ominous note; the camera prowls down a dark hallway, blood-splattered on walls and bodies lying…
Already an acclaimed editor on films such as Carlos Reygadas’ Silent Light & Post Tenebras Lux and Lisandro Alonso’s Jauja, as well as an…
There are a few different films all struggling for screen time in Noah Collier & Emily MacKenzie’s new documentary Carpet Cowboys, including a treatise…
Youssef Chebbi’s horror-tinged police procedural Ashkal (being released in the States officially as Ashkal: The Tunisian Investigation) begins with a brief explanation of The Gardens of…
Mother Lode straddles a few different lines in its depiction of the grueling lives of gold miners in the mountains of Peru. For all…
Ellie Foumbi’s Our Father, the Devil takes the broad, familiar strokes of the revenge drama and fashions them into something altogether more tragic. The…
In a recent think piece for Salon, critic Sam Adams asks “Where did all the hacks go?” He’s mainly talking about Disney’s penchant for…
Ingenuous, low-budget sci-fi is having a moment. It’s been a long time since Primer and Upstream Color, or even Coherence or Timecrimes. But recent festival offerings like The Artifice Girl and Aporia suggest…
Few directors have embodied the ethos of their own films quite so fully as Robert Aldrich; fiercely independent, constantly navigating the fickle vicissitudes of…
As yet another Hong Sang-soo project makes the rounds, surely to be followed in four to six months by another, even newer film, it’s…
Cory Finely’s Landscape With Invisible Hand is an innocuous, flimsy little sci-fi movie, bandying about high concepts and reasonably detailed world-building but resolutely refusing…
Jared Moshé’s Aporia is a rare thing indeed: a high-concept, hard sci-fi head-scratcher that still feels human-scaled thanks to sensitive performances and focus on…
Writing about Larry Fessenden’s new film Blackout, recently screened as part of the Fantasia Film Festival, we commented on its “shaggy structure” and noted…
It’s not quite accurate to describe Darkness as magic realism, but it’s not strictly a genre piece, either. Much like the children at the…