Over the course of three seasons, I Think You Should Leave has cemented Tim Robinson as a genuinely iconic comedic performer. With episodes under 20…
At one end, a nearly perfunctory art documentary; on the other, a lively essay film on color; in between, a shambolic chronicle of a failed…
Lois Patiño begins his new film Ariel by spatially positioning Shakespeare’s The Tempest within the frame, as the image of an island opens as if…
In the opening moments of Nightbitch, director Marielle Heller appears alongside her star Amy Adams, both playing frustrated mothers in a grocery store. Both Heller…
Lev Kalman and Whitney Horn’s (L for Leisure, Two Plains & a Fancy) new film Dream Team boasts two assets not often paired together in…
In what is somehow 19-year-old filmmaker Alice Maio Mackay’s fifth feature, Carnage for Christmas, genres abound. Though a slasher makes up the bones of the…
In his new film Being John Smith, premiering alongside Jean-Luc Godard’s for-real-this-time last two films in TIFF’s Wavelengths program, filmmaker John Smith starts with a…
The name most likely to catch the attention of cinephiles in the credits of Shahab Fotouhi’s first feature Boomerang is co-editor Aleksandre Koberidze, who broke…
Beatrice Gibson’s short film Leisure, Utopic is the first in a series of “loose adaptations” of Bernadette Mayer’s book-length poem, Utopia. The film features the…
Lucy Kerr’s feature debut Family Portrait begins in media res, at the titular scene. There’s chaos, but initially the chaos is only visual. The soundtrack…
Mixed media artist Zhou Tao’s new film, The Periphery of the Base, playing now at Cinéma du Réel and totalling just 53 minutes across a…
Almost every program description or review of Alison O’Daniel’s first feature, The Tuba Thieves, including now this one, begins by noting that it is largely…
The staff of In Review Online have come to the collective decision to abide by the international call from Strike Germany. We will be withholding…
In his new short film, Rainer Kohlberger proposes the titular electric kiss as an ultimate pleasure, a literal sum of the neural impulses that produce…
Pete Ohs’ amiably idiosyncratic new feature Love and Work is set in a future where jobs are illegal. It begins with Diane (Stephanie Hunt, also…
Newly christened Director’s Fortnight General Delegate Julien Rejl has expressed a desire to highlight new voices with his first programmed slate — not just by…
Berlinale’s Encounters section has largely been a platform for lesser known filmmakers since its inception, though it’s also seen its fair share of high profile…
Light Matter’s fourth 2023 program is titled “Blurred Lines.” Though lines literal and figurative blur within many of the constituent films, the title refers more…
The faux-retro affect of Alexander Payne’s new Vietnam-era film, The Holdovers, could never be mistaken for something genuine. Regardless of how it’s meant to be…
Argentinian filmmaker Eduardo Williams’ new film The Human Surge 3, which premiered this summer in competition at the Locarno Film Festival, is his first feature…
Blanket declarations about three-hour-plus runtimes always seem curious when filmmakers employ said length for wildly different purposes. Though the sweeping epic may be the most…