The Code If nothing else, Eugene Kotlyarenko is a filmmaker dedicated to understanding how we live with technology, and his greatest strength is a…
The Killers Between Wes Anderson’s The French Dispatch, the seemingly never-ending V/H/S franchise, and even Yorgos Lanthimos’ Kinds of Kindness, which premiered at the…
Lazaro at Night Medium-length features; a small but consistent troupe of actors in every picture; every scene just another conversation; little-to-no camera movement; and…
ESSAYS WORLD WIDE WEB OF DREAD: HORROR FROM THE YEAR OF THE WEB, 30 YEARS LATER FEATURE BY: Mike Thorn CRAFT AS POLITICAL PRAXIS…
Lichens Are the Way As documentaries go, the subject of plant life tends to suffer from a lack of tangible movement. Inertia, ascribed to…
Amusement Park There is a provocation inherent in the depiction of sex as sensation: shed the vows and the assurances of deep emotional connection,…
Jazzy Early in Jazzy, Morissa Maltz’s follow-up to her feature narrative debut The Unknown Country, a pair of best friends sit in the sunken…
Nuked Imbued with plenty of allure and the potential for surprise, friendly get-togethers and familial gatherings in cinema sustain such an appeal that they…
Vulcanizadora Joel Potrykus offered viewers a kind of hell on earth in 2014 when he released Buzzard, a crusty cumrag of a movie about…
ESSAYS THE IMAGE AND THE AFTERGLOW: JANE SCHOENBRUN’S I SAW THE TV GLOW FEATURE BY: Frank Falisi THE JOY OF THEIR MAKING: THE FILMS…
All We Imagine as Light “This city takes time away from you,” says one of the seven disembodied voices introducing us to the wide-awake-at-night…
Anora Following Red Rocket in 2021, Anora marks Sean Baker’s second straight feature in competition at Cannes, and this one comes with reports of…
Oh, Canada The title gives it away. Before one even begins watching Paul Schrader’s latest, the tone is effectively set by a little writerly…
The Invasion Moral judgments in artwork tend to be tinged in shades of gray. This is sometimes expressed by citing Jean Renoir’s unofficial motto…
ESSAYS UNPLUGGING THE EMPATHY MACHINE: HIROKAZU KORE-EDA’S MONSTER AND RYÛSUKE HAMAGUCHI’S EVIL DOES NOT EXIST FEATURE BY: Theo Rollason SATURDAY NIGHT AT THE BATHS FEATURE…
Of Living Without Illusion A long take is a relationship. It looks still and it contains and collides all its insides. Details from earlier…
ESSAYS A SYNONYM FOR BELIEF: TENET AS FUGUE FEATURE BY: Milo Garner THE STUFF OF NIGHTMARES: SEX ON SCREEN AND IT FOLLOWS AT TEN…
You Burn Me Matías Piñeiro is best known for loosely adapting Shakespearean texts via small-scaled, interpersonal dramas: Twelfth Night in Viola; Measure for Measure…