As a certain theory of Baudrillardian post-intellectualism would have it, we now live in what could be referred to as an “anti” age — an…
Only the teeming right-wing critics of mid-20th century Cahiers du Cinéma could have so fervently opposed the notion of political didacticism in film. Needless to…
“The old world is dying, and the new world struggles to be born.” So begins Kamel Laaridhi’s debut feature, The H@llow Man, with a quote…
According to the UN, nearly 1,000 Palestinians currently living in Jerusalem face eviction at the hands of the Israeli government. Of those permitted housing, less…
Whether she was shooting her sexual experiences with lovers, the social and political climate of cultural feminism, or an ultimately fatal battle with ovarian cancer,…
Marketed as “a Green Day comedy,” Lee Kirk’s newest film, Nimrods, could more fittingly be described as specious or surprisingly inept. Or, it could be…
Kent Jones has long been one of cinema’s greatest thinkers, so to simply refer to him as a director seems a gross oversimplification for what…
One of the better moments in Park Joon-ho’s debut feature, 3670, is its first. The young, timid Cheol-jun (Cho Yoo-hyun) climaxes during a sexual encounter…
Allow me to posit a cinephilic contention: that cinema is perhaps the most formally complete of all art forms — or rather, a blistering confection…