With enough practice, seemingly anything can become normal, even the working practice of Shunji Iwai. For the better part of his career, Iwai’s melodramas…
The clean and well-organized business environs of Sho Miyake’s All the Long Nights seem to come straight from the catalogue; the city skyline casts…
The dominant perspective in Pixar’s films about childhood — most significantly, the Toy Story entries and Inside Out — is that of the parent…
The staff of In Review Online have come to the collective decision to abide by the international call from Strike Germany. We will be…
Kôji Fukada has described Ozu this way: “He’s one of the true greats, while I am not.” To take a line from Hasumi’s criticism:…
Non-fiction scenarios and non-professional actors are often characterized as so rich and unpredictable that all a director needs to be is a receiver for…
Suicide narratives are dominated by two extremes: the undermined sense that all knowledge about the person who has died is now a hopelessly incomplete,…
Those about to eulogize reach for poetry; for anyone, mourning periods commingle, confuse, and unpredictably change one’s experience of time. But in Christophe Honoré’s…
Lady Chatterley’s Lover makes the mistake of relying heavily on its source material’s action without understanding either its playfulness or seriousness. A Reader’s Digest gloss…
In Wisdom Gone Wild, Rea Tajiri returns to the subject of one of her earliest and best-known works: her mother. That earlier work, History…
Wendell & Wild has evident ambition, but it’s ultimately far too small. Seemingly focus-tested for maximum appeal to parents who really, really miss Key &…
The needle-eye gateway of the coming-of-age film is a near-obligatory rite of passage for the “emerging” Canadian director. Accordingly, Trevor Anderson sets his debut…
Lisbon plays itself in Where Is This Street? or With No Before or After, the first collaboratively directed film from partners João Pedro Rodrigues…
Jean-Paul Civeyrac’s A Woman (Une femme de notre temps) could be taken for a statement film: Juliane (Sophie Marceau) is a Parisian chief of…
In Im Sang-soo’s Heaven: To the Land of Happiness, the money its pair of protagonists happen upon, no matter how welcome, has a rapidly…
In some respects, My Small Land is a film about easily perceived material differences. Sarya (Lina Arashi) holds herself at a distance from others;…
Andrew Infante’s Ferny & Luca is a first feature with a lot of places to get to. It briskly orbits around romantic ideas and…
Ahed’s Knee is an expressionistic work of subjective ruptures and discontinuities that attempts to give complete satisfaction to human reason. If Nadav Lapid is a…