After his eccentric, taskmaster father (Udo Kier) dies, Andy (Tye Sheridan) — a burly, brooding mass of tortured American masculinity — joins a renowned…
If Gerardo Naranjo hadn’t already taken the title I’m Gonna Explode for his 2008 portrait of adolescent rebellion, it would have made a fitting…
Jeux de plage, the debut feature from Japanese director Aimi Natsuto, is a film that’s more than eager to engage with the greats of…
The enduring impulse to defamiliarize — that is, to (re-)present something as novel or new — is at the heart of Peter Parlow’s The Plagiarists. Directed…
Jim Jarmusch’s new horror-comedy, The Dead Don’t Die, is a missive from the other side. For one thing, it’s a zombie film in the…
With films like D.A. Pennebaker’s seminal 1967 documentary Don’t Look Back and Todd Haynes’s shapeshifting 2007 musical drama I’m Not There, the cinema has…
The primary appeal of Dominga Sotomayor’s Too Late to Die Young is its seductive portrayal of a liminal state. Set in a bohemian commune…
“Sensuous,” “gorgeous, “evocative” — such descriptors are perhaps too easily applied to Ash Mayfair’s The Third Wife, a film that, from its opening frames,…
The most striking aspect of Weekend Lover, the directorial debut of Sixth Generation Chinese filmmaker Lou Ye, is its palpable sense of existence as…
Under the Silver Lake, the third feature from writer-director David Robert Mitchell, is the kind of ambitious, self-indulgent project destined to appeal only to…
In Dario Argento’s Deep Red, the piercing visions of a Jewish-German telepath (Macha Méril) serve as an embodiment of this Italian master’s worldview: to look is…
Frequently inscrutable and often enveloped in literal darkness, Andrea Bussmann’s Fausto offers the latest (cinematic) rumination on the foundational myth of man’s dealings with…
Brothers of the Night concerns a loose network of young Bulgarian men who, unable to find work in Vienna, instead prowl the city streets…
If A City of Sadness represents Taiwanese director Hou Hsiao-hsien’s greatest achievement to date — an assessment that its Venice Golden Lion and long-standing reputation would seem…
“I don’t want to be an example. I just want to be a girl,” says Lara (Victor Polster), the title character of Girl, Lukas Dhont’s highly…
In taking on the horrors of Vietnam, Brian De Palma’s Casualties of War may be said to mark a departure for the American director…
“This is the feverish, painful expression of a man who lives in mortal fear of his own mediocrity,” concludes Dave Kehr’s negative Chicago Reader…
Skipping elliptically across 15 or so years in an economical 84 minutes, Pawel Pawlikowski’s Cold War tells of the tumultuous, postwar love affair between…