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…
Paris’ Centre Pompidou Museum has been commissioning short works from a veritable who’s who of international filmmakers since 2015. The curators present these artists with…
Sci-fi books and movies have been enamored with the remarkable possibilities of, and dangerous risks inherent to, artificial intelligence for almost as long as the…
As America stands on the brink of an illegitimate Supreme Court abolishing Roe v. Wade, abortion and women’s health rights have once again been thrust…
Given his recent critically and commercially successful, Oscar-winning film Drive My Car, it was only a matter of time before Japanese arthouse director Ryusuke Hamaguchi…
By the time he helmed Silver Lode in 1954, Allan Dwan had been directing films for four decades, trying his hand at every genre one…
Even for those who haven’t seen Alena Lodkina’s first feature, 2017’s Strange Colours, given the quality of her new film, Petrol, it should be abundantly…
Ariadine Zampaulo’s Maputo Nakuzandza begins with a distressingly bleak sequence: a group of boys approach an open car and peer inside, commenting on an unseen…
Giraffe is often beautiful, but strikes an imbalance between its form and its flagging emotional core. Frequently beautiful but frustratingly opaque, Anna Sofia Hartmann’s Giraffe plays…
Abbas Kiarostami’s 2008 film Shirin is constructed entirely of closeups of faces as spectators react to a film playing in front of them. But the…
In her remarkable 2021 book on James Benning’s Ten Skies, critic and scholar Erika Balsom remarks that the film “at once rewards a close attention…
In his landmark 1993 work Culture and Imperialism, historian Edward W. Said observes, “peoples being conscious of themselves as prisoners in their own land… returns…
Sara Cwynar’s new film Glass Life ends with halting credits that scroll up and down, then back up and back down, over and over, listing…
It seems safe to say that we’re currently experiencing a remarkable resurgence of interest in Jacques Rivette; long the most mysterious of all the Nouvelle…
Classified as a documentary in the Berlin festival catalog, Tatiana Huezo’s new film The Echo is more accurately clarified as a scripted film shot on…
Two new horror films arrive on screens this week which, paired together, suggest a kind of state-of-the-genre address: Christopher Smith’s Consecration offers a lovingly constructed…
“I would do anything for my children,” says Jess (Michelle Monaghan), a phrase she repeats like a mantra that gradually takes on a more sinister…