Canadian animator Félix Dufour-Laperrière has described his third and most ambitious feature, film Death Does Not Exist, as a tonal experiment, dropping characters possessed with…
The current acclaim for Canadian cinema is, like many attempts to promote a new wave, a snapshot of a rising generation that aside from nationality…
Renaud Després-Larose and Ana Tapia Rousiouk, along with their frequent collaborator Olivier Godin, represent an alternative stream of Quebecois cinema, one that is both shoestring…
Unlike the two other entries in Dag Johan Haugerud’s thematically linked Love-Sex-Dreams trilogy, Dreams is not concerned with steadily paced dialogues or mature perspectives. While…
Dag Johan Haugerud’s approach to dialogue — in which two privately rapt characters waffle between a listener’s patience and a preening sense of self-regard —…
Peak Everything (or Amour Apocalypse, its easily translatable French title) is only Anne Émond’s second film to premiere internationally, following Our Loved Ones — easily…
“I hate ’love’ in my own language,” says the Norwegian music artist and novelist Jenny Hval in the title track from her album The Practice…
Patricia Mazuy is one of the greatest directors working today, but you’d hardly know it from how often her films are screened or talked about.…
Marcello Mio, probably the first movie to appear in Cannes competition with the word “nepo baby” in its script, is part of an increasing tendency…
All Shall Be Well opens with a leisurely, near-fantastical tour through what appears to be a typical 24 hours for Angie (Patra Au) and Pat…
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 of…
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 an…
The dominant perspective in Pixar’s films about childhood — most significantly, the Toy Story entries and Inside Out — is that of the parent trying…
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…
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: if,…
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 what…
Suicide narratives are dominated by two extremes: the undermined sense that all knowledge about the person who has died is now a hopelessly incomplete, even…
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 Winter…
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 of…
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 and…
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 & Peele,…