Fiddler’s Journey isn’t much more substantive than your average love letter doc, and suffers from an ill-conceived late-film detour. Daniel Raim’s chronicling of the pre-production…
The Earth is Blue As an Orange relies on an immediacy that only somewhat masks its flippant, fleeting nature. It’s difficult to approach a work…
Charlotte is another anonymous effort on the Holocaust film heap that has now idea what to do with Jewish pain. Éric Warin and Tahir Rana’s…
Stanleyville is a toothless comedy that fails to fill in the considerable gaps in its conceptual framework. Maxwell McCabe-Lokos’ Stanleyville confines itself to a single…
Miryam Charles’ feature debut is a member of the final Talent to Watch cohort, prior to the industry intervention that would reshape it. Talent…
A Night of Knowing Nothing is a fascinating work of formal and intellectual hybridity. Beautifully dispatched through its entanglement of formal hybridity, Payal Kapadia’s A…
#22. James Wan’s 40-million-dollar check, signed and sealed by a grateful Warner Bros. in recompense for the success of Aquaman, enables a continuation of his…
She Paradise abandons the physicality at its core for an unfortunate bit of dubious messaging. Lost in the anonymous aesthetic swarm that is digital, independent…
Dangerous is content to ride its plateaued production structure of cribbed parts to the territory of who cares. When speaking of Dangerous, it’s difficult to not…
It seems fair to suggest that The Forgotten Ones is a film for the Western Jews, communities of the diaspora, a collective lost to the Zionist…
Gaza Mon Amour finds inspirations in canonical “Mon Amour” films, but takes care to emphasize the present moment and the wya images ferment under occupation.…
Diaz’s signature long-takes here work more to push the material into territory of fatalism rather than substantive political observation. Lav Diaz knows violence. The…
Emblematic of kitchen-sink realism, Jesse Dvorak’s feature debut is a paradigmatic unfurling of anticipated beats and narrativity. Baby, Don’t Cry, written by and starring…
The playfulness of Chantal Akerman is, throughout her work, always nebulous. A smile, a laugh, a tall-standing stride: these do not signify transparent gestures,…
Iva Radivojević’s Aleph builds itself atop Jorge Luis Borges’ short story of the same name, rendering a small tale of infinity-seeking, a philosophical riff…
Red Moon Tide offers impressive sonic and visual craft, but is somewhat undermined by its weaker narrative and character elements. An elegiac stillness envelops…
We are asked: what of the implications of these encounters? What of the markings left by a history: markings that will elude the act…
You Will Die at Twenty contains plenty of allegorical power, but its ineffectual plotting ultimately teases out more stimulating questions than it does answers. As…