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 that…
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 story’s…
The history of the Western is fertile territory for studying many of the greatest American filmmakers of the 20th century. While none worked exclusively in…
Young filmmakers making gangster-adjacent genre films is a time-honored tradition — it’s a mode of moviemaking with a built-in propensity for ready-made conflict, violence, stylized…
It’s a shame that our contemporary film exhibition apparatus has no place for medium-length works like Alain Kassanda’s Trouble Sleep. At 40 minutes, it’s too…
Hamburg-based, multi-disciplinary artist Martha Mechow makes her feature film directorial debut with Losing Faith, an ecstatic portrait of womanhood breaking free from societal norms of…
Released in 2006 to mixed reviews and respectable, if unremarkable, box office, Déjà Vu was the third collaboration (of an eventual five) between director Tony…
Beyond the star-studded premieres, the red carpets, the haute couture, and the million dollar acquisition deals, film festivals (ideally) exist to give a platform to…
While technically a “Covid film,” shot on weekends with friends and family during the first wave of lockdowns in early 2020, Tyler Taormina’s Happer’s Comet…
It’s always a pleasure to find genuinely weird horror movies at a film festival, the kind too offbeat or otherwise too uncommercial to garner attention…
Users, Natalia Almada’s new essayistic documentary, is a text at war with itself, equal parts poetic rumination on the place of modern technology in our…
Now with three feature films to his name as writer-director, Ted Geoghegan has carved out a nice niche for himself as a go-for-broke indie horror…
There’s something rotten at the heart of the Mexican elite, so says writer-director Joaquin del Paso in his new film, The Hole in the Fence.…
In a famous 1960 piece for Cahiers du Cinema, titled “In Defense of Violence,” Michel Mourlet bluntly states: “Charlton Heston is an axiom. He constitutes…
The marketing for Ryan Stevens Harris’ debut feature film Moon Garden has been very careful to center the hand-crafted nature of the endeavor — photographed…
The great Jia Zhangke is listed as a co-producer on Kavich Neang’s new film White Building, a sensitive coming of age story that nonetheless occasionally…
There’s a great movie about a group of women getting together to bond and overcome trauma while going on an adventure that eventually turns into…
A plaintive, largely melancholic coming-of-age story, writer-director-editor Anthony Shim documents his childhood as a Korean immigrant in 1990s Canada in the intermittently cloying but mostly…
There’s been no shortage of lamentation here at InRO about how the contemporary Hollywood studio system has mostly abandoned mid-range, mid-budget action movies in favor…
Perennially undervalued, Joseph H. Lewis receives a single paragraph in Andrew Sarris’ canonical The American Cinema (relegated to the expressive esoterica category alongside Andre de…