Still Processing is a work of profound emotional catharsis that suggests even greater formal heights on Romvari’s horizon. Occupying a well-deserved place on TIFF’s Short…
IWOW is a work of pure hubris and self-aggrandizement, entirely devoid of the humanity that has informed Allah’s previous works. Over the course of his…
Red Post on Escher Street is a powerful, insurrectionary refutation of the larger culture’s nihilistic star-gazing and obliteration of art. Red Post on Escher Street,…
Dolan’s latest intrigues in deviating from the director’s familiar mode, but its busyness never fully distills into any cogent statement. Matthias & Maxime, the…
Almereyda’s Experimenter-style mode is not as organic of a fit for the often compelling but ultimately overburdened Tesla. Having risen to renewed prominence on the…
Were one to walk the streets of Taipei, ride its elevated MRT lines, and pass by the imposing structure of the Taipei 101 and…
Released in 1997, Tsai Ming-liang’s The River extended what would become a de facto family trilogy in which the same actors reprise identical roles…
Typically regarded as a key director of the Taiwanese Second New Wave, Tsai Ming-liang and his debut theatrical feature Rebels of the Neon God…
The least that can be said of Korean director Yoon Sung-hyun is that he takes his time, with ten years separating the filmmaker’s debut…
The sixth feature film from Pema Tseden is a dream-inflected, almost Rashomon-like take on a road movie that uses the barren hills of the…
Vitalina Varela is a profound humanistic effort, conceptually bold and featuring compositions of affecting beauty. Winner of last year’s Golden Leopard at the Locarno Film…
China’s major animated film of 2019, White Snake, unsurprisingly, takes on the legend of its titular figure — which, roughly, tells the tale of…
Argentine director Mariano Llinás’s La Flor is a project ten years in the making, and an ode to the sort of movies that filmmakers…
So what exactly ‘begins’ in Philippe Lesage’s Genesis? That’s a question that’s almost too deceptively simple to answer: love, of course (the film’s poster…
The latest film from Filipino director Lav Diaz to make it to US streaming services is the almost four-hour long, politically charged, a cappella…
On paper, Hakota Yuko’s debut feature, Blue Hour, has much promise. The film was inspired, in some measure or another, by Isao Takahata Studio Ghibli…
Defying categorization in nearly every conceivable sense, Japanese director Sabu’s Mr. Long may initially suggest itself as an actioner, if one were to look at…
Lav Diaz’s A Lullaby to the Sorrowful Mystery (which first premiered in 2016, but is only now getting a release Stateside this year, thanks…