Umut Subaşı’s debut feature, Almost Entirely a Slight Disaster, is a curious beast. In many regards, it’s quite accomplished, and displays some very decisive…
“Dostoyevsky Iranian style,” reads one positive review of Leila’s Brothers, the third feature film by Saeed Roustaee, and in a way that writer has…
Argentinian filmmaker Melisa Liebenthal’s 2019 short film, Aquí y Allá (“Here and There”), utilized Google Earth, in-film, to pinpoint the exact location where it…
For years now, director Ursula Meier has been interested in boundaries and the reasons we cross them. Her debut feature Strong Shoulders (2003) is…
Jean-Claude Rousseau may be one of the best-kept secrets in world cinema. But fortunately, in recent years, the word seems to be getting out.…
Luke Fowler’s latest feature film reflects a slight shift in his creative project, something that might not be immediately apparent even to longtime admirers…
At times, Laberint Sequences, the new short film by Blake Williams, feels a bit like an experimental feature, despite being only 20 minutes long.…
There have been a number of meta-cinematic works over the years that detail the plans for a film that a maker had in mind,…
The latest film from French actor-director Valeria Bruni-Tedeschi is difficult to evaluate. One could argue that, for what it is, it is fairly accomplished.…
Since moving from 16mm to digital nearly fifteen years ago, James Benning’s films have become more and more stringent, foregoing surface incident in favor…
Expanding on the layered, accelerated style first developed in her shorter films, Fox Maxy arrives at Sundance firing on all cylinders. Gush marks a…
Lebanese filmmaker Ali Cherri has been a bit of a fixture on the festival circuit with his wry, melancholy short works addressing the state of the Arab…
Timing is everything, and because of that, Stéphane Lafleur’s latest film Viking will likely draw comparisons with The Rehearsal, Nathan Fielder’s HBO show about…
Iranian cinema, as presented to the larger world over the past four decades, has mostly been based on a Bazinian commitment to observable reality.…
One of the most enjoyable films presented in this year’s Crossroads Festival is also one of the shortest. In Object Permanence, Alix Blevins offers…
Since the advent of an autonomous African cinema in the 1960s, Western audiences have grown accustomed to a realist, declarative style that served to…
The latest film from veteran Malaysian director Woo Ming Jin (Monday Morning Glory, The Tiger Factory) is an interesting cinematic specimen. A filmmaker with…
[NOTE: This review contains spoilers.] After having made three no-budget features with co-director Rodrigo Ojeda-Beck, Robert Machoian broke through in 2020 with The Killing…