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…
Veerle Baetens’ debut feature When It Melts is one of those films that is difficult to discuss without giving the entire thing away, not only…
In his canonical text Hollywood Genres, author and theorist Thomas Schatz proffers a still useful distinction, that being between “the film genre and the genre…
While it never quite led to the promise of a more democratic cinematic landscape, there’s now an entire history of digital movie-making that exists both…
Li Xiaofeng’s Back to the Wharf begins with a tragic accident that escalates, shockingly, to murder. After high school student Song Hao (Zhou Zhengjie) stumbles…
It’s something of a fool’s errand to try to trace broad trends throughout a full festival lineup — most critics don’t see anywhere near the…
Shot on location in New Mexico in early 2021, Pete Ohs’ Jethica is a kind of minimalist sunbaked noir that gradually transforms into something altogether…
When Rob Zombie’s House of 1000 Corpses was released in 2003 (following numerous distribution delays by its original producer Universal Studios due to objectionable content),…
If the recent High Heat represents a kind of floor for a DTV genre work — some perfect okay action courtesy of a game cast…
We’ve frequently proselytized for the relative value of the DTV action-thriller here at InRO, but the truth of the matter is that, more often than…
Through four feature films and some assorted shorts, Indonesian madman Timo Tjahjanto has proven to be one of our foremost purveyors of cinematic gore. Whether…
Has there been a director so wildly prolific as Johnnie To in our modern era? Hong Sang-soo comes to mind, albeit occupying a radically different…
Nanny promisingly begins as an unsettling study in neoliberal microaggressions but sadly slides into standard-gauge horror tomfoolery in its second half. Nikyatu Jusu’s Nanny is the kind…
A Wounded Fawn is a delightfully weird and lo-fi work of playful horror. There’s not much left to do with serial killer narratives these days, but…
In his introduction to Olivier Assayas’ autobiographical essay/memoir A Post-May Adolescence: Letter to Alice Debord, Adrian Martin writes that “Assayas has always identified himself with…
Diana Bustamante’s Our Movie casts a peculiar spell; an essayistic documentary of sorts, it’s constructed entirely out of archival Columbian broadcast news footage from (roughly)…