With Notes from Eremocene, experimental documentary filmmaker Viera Čákanyová rounds off her informal “post-human trilogy” comprising 2019’s FREM — a futurist meditation on the…
It’s arguably a Sisyphean task to adapt Henry James’ late work to the screen, and in particular his 1903 novella The Beast in the…
Premiering in Berlinale Forum, a space reserved for “test[ing] the boundaries of convention,” Yoo Heong-jun’s Regardless of Us will inevitably elicit comparisons with the…
Subtlety isn’t Singaporean cinema’s strong suit, as year after year of mainstream slop, indie darlings, and enfant terrible flops (having largely been banned back…
At its heart, Patricia Ortega’s MAMACRUZ radiates a tender and thoughtful warmth for its sympathetic main character, a woman whose womanhood has, after decades…
Film trailers sometimes embellish the truth, and other times overturn it entirely; Sony Pictures Classics’ preview of The Son, however, proves remarkably faithful to…
“READ ME”: a visage lit in orange glow, hands, bodies, hands caressing bodies, the twinkling lights of a Christmas tree, the two words blinking mutely from…
Rarely does the weight of a classic so gracefully crimp under the weightlessness of an earnest successor, less keen on displacing the gravitas of…
Of the so-called “three amigos” — comprising Alfonso Cuarón, Guillermo del Toro, and Alejandro González Iñárritu — whose films have in recent years penetrated…
It takes a kind of charming naïveté these days to purport to represent the vagaries of sexuality onscreen without so much as a sideways…
Any nerve-shredding tendencies present in Nocebo are punctured by its clunky exposition, predictable ending, and insistence on trite messaging. There are two kinds of…
Descendant is a piercing work of ethnography that takes on America’s original sin with intelligence and nuance. Reclaiming history has, historically, been an arduous process,…
Ana Lily Amirpour’s foray into prestige television isn’t entirely unexpected, given both her affinity with idiosyncratic, highly stylized horror cinema and a cultural demand…
The Lobby’s punishing perspective and comical presentation make for a wryly self-deprecating inquiry into death and all things philosophical. “There is no here here”…
Rimini possesses a frigid sociological potency whose disparate elements capture a stratified generation’s cultural and libidinal imaginary. The curtain doesn’t quite fall in wintry…
Triangle of Sadness vacillates between slight but sly commentary and outright gaudiness, but an enigmatic, delightfully bathetic ending ushers Östlund’s film out on a high…
Terrifier 2 is a breath of fresh horror air, hilarity, melodrama, brutality, and unhinged schtick rolled into one grisly package, all of it supported by…
The Silent Twins flattens any psychological depth found in its characters and suffers from a directorial style mismatched to the content at hand. The…